Oracles: Artists' Calling Cards
Pierre Leguillon, Barbara Fédier [Eds.]
2017
Oracles: Artists' Calling Cards
Oracles: Artists' Calling Cards
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“The soul is such an intangible thing, so often useless and sometimes so embarrassing, that its loss occasioned me slightly less emotion than if, while out for a walk, I had left behind my visiting ...
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Oracles: Artists' Calling Cards
Pierre Leguillon, Barbara Fédier
2017
Zurich, Geneva and Brussels: Edition Patrick Frey, HEAD and Museum of Mistakes
320 pages
26.5 × 21 × 5 cm
Edition of 700

“The soul is such an intangible thing, so often useless and sometimes so embarrassing, that its loss occasioned me slightly less emotion than if, while out for a walk, I had left behind my visiting card.” (Charles Baudelaire, The Generous Gambler)


 


With this quote in mind, Patrick Frey embarked on a research project spanning three centuries of ephemera. Featuring 123 cards belonging to painters, sculptors, photographers, architects, graphic designers, and art historians, this materially abundant volume is the culmination of extensive iconographic research. Accompanied by an interactive platform hosted on Patrick Frey’s website, it invites readers to delve deeper into the history and visual language of these tiny multiples.


 


Far more than simple professional identifiers, calling cards reveal how artists chose to present themselves to their professional circles, offering glimpses into their public personas and their distinctive ways of “being-in-the-world”. Facsimile cards are loosely inserted throughout the volume, transforming the book into a kind of manually-assembled oracle. Together, they trace not only the graphic evolution of the artist’s calling card, but also, more broadly, offer a new way of looking at the history of art, from Francisco Goya to Richard Prince.

Zurich, Geneva and Brussels: Edition Patrick Frey, HEAD and Museum of Mistakes
320 pages
26.5 × 21 × 5 cm
Edition of 700

“The soul is such an intangible thing, so often useless and sometimes so embarrassing, that its loss occasioned me slightly less emotion than if, while out for a walk, I had left behind my visiting card.” (Charles Baudelaire, The Generous Gambler)

 

With this quote in mind, Patrick Frey embarked on a research project spanning three centuries of ephemera. Featuring 123 cards belonging to painters, sculptors, photographers, architects, graphic designers, and art historians, this materially abundant volume is the culmination of extensive iconographic research. Accompanied by an interactive platform hosted on Patrick Frey’s website, it invites readers to delve deeper into the history and visual language of these tiny multiples.

 

Far more than simple professional identifiers, calling cards reveal how artists chose to present themselves to their professional circles, offering glimpses into their public personas and their distinctive ways of “being-in-the-world”. Facsimile cards are loosely inserted throughout the volume, transforming the book into a kind of manually-assembled oracle. Together, they trace not only the graphic evolution of the artist’s calling card, but also, more broadly, offer a new way of looking at the history of art, from Francisco Goya to Richard Prince.

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“The soul is such an intangible thing, so often useless and sometimes so embarrassing, that its loss occasioned me slightly less emotion than if, while out for a walk, I had left behind my visiting card.” (Charles Baudelaire, The Generous Gambler)

 

With this quote in mind, Patrick Frey embarked on a research project spanning three centuries of ephemera. Featuring 123 cards belonging to painters, sculptors, photographers, architects, graphic designers, and art historians, this materially abundant volume is the culmination of extensive iconographic research. Accompanied by an interactive platform hosted on Patrick Frey’s website, it invites readers to delve deeper into the history and visual language of these tiny multiples.

 

Far more than simple professional identifiers, calling cards reveal how artists chose to present themselves to their professional circles, offering glimpses into their public personas and their distinctive ways of “being-in-the-world”. Facsimile cards are loosely inserted throughout the volume, transforming the book into a kind of manually-assembled oracle. Together, they trace not only the graphic evolution of the artist’s calling card, but also, more broadly, offer a new way of looking at the history of art, from Francisco Goya to Richard Prince.

Zurich, Geneva and Brussels: Edition Patrick Frey, HEAD and Museum of Mistakes
320 pages
26.5 × 21 × 5 cm
Edition of 700

“The soul is such an intangible thing, so often useless and sometimes so embarrassing, that its loss occasioned me slightly less emotion than if, while out for a walk, I had left behind my visiting card.” (Charles Baudelaire, The Generous Gambler)

 

With this quote in mind, Patrick Frey embarked on a research project spanning three centuries of ephemera. Featuring 123 cards belonging to painters, sculptors, photographers, architects, graphic designers, and art historians, this materially abundant volume is the culmination of extensive iconographic research. Accompanied by an interactive platform hosted on Patrick Frey’s website, it invites readers to delve deeper into the history and visual language of these tiny multiples.

 

Far more than simple professional identifiers, calling cards reveal how artists chose to present themselves to their professional circles, offering glimpses into their public personas and their distinctive ways of “being-in-the-world”. Facsimile cards are loosely inserted throughout the volume, transforming the book into a kind of manually-assembled oracle. Together, they trace not only the graphic evolution of the artist’s calling card, but also, more broadly, offer a new way of looking at the history of art, from Francisco Goya to Richard Prince.

MORE BOOKS

“The soul is such an intangible thing, so often useless and sometimes so embarrassing, that its loss occasioned me slightly less emotion than if, while out for a walk, I had left behind my visiting card.” (Charles Baudelaire, The Generous Gambler)

 

With this quote in mind, Patrick Frey embarked on a research project spanning three centuries of ephemera. Featuring 123 cards belonging to painters, sculptors, photographers, architects, graphic designers, and art historians, this materially abundant volume is the culmination of extensive iconographic research. Accompanied by an interactive platform hosted on Patrick Frey’s website, it invites readers to delve deeper into the history and visual language of these tiny multiples.

 

Far more than simple professional identifiers, calling cards reveal how artists chose to present themselves to their professional circles, offering glimpses into their public personas and their distinctive ways of “being-in-the-world”. Facsimile cards are loosely inserted throughout the volume, transforming the book into a kind of manually-assembled oracle. Together, they trace not only the graphic evolution of the artist’s calling card, but also, more broadly, offer a new way of looking at the history of art, from Francisco Goya to Richard Prince.

MORE BOOKS