Category Archives: Van Buskirk Books

The Concert Register of Carlo Maria Giulini (1914-2005) is printed (starting on page 7) with every concert featuring the music of Anton Bruckner (1824-1896) printed in the color of red (the frontispiece on page 2 is a reference to this idea). The inspiration for printing the words of Jesus in red comes from Luke 22:20 – “This cup is the new testament in my blood, which I shed for you”. On June 19, 1899, Louis Klopsch (1852-1910)…

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The Concert Register of Carlo Maria Giulini (1914-2005) is printed (starting on page 7) with every concert featuring the music of Anton Bruckner (1824-1896) printed in the color of red (the frontispiece on page 2 is a reference to this idea). The inspiration for printing the words of Jesus in red comes from Luke 22:20 – “This cup is the new testament in my blood, which I shed for you”. On June 19, 1899, Louis Klopsch (1852-1910) conceived the idea while working on an editorial. Klopsch asked his mentor Rev. T. De Witt Talmage what he thought of a testament with the words spoken by Jesus printed in red ink and Dr. Talmage replied, “It could do no harm and it most certainly could do much good.”

One 258,226 word sentence begins on p.11, continues on p.205, and ends on p.592


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One 258, 226 word sentence passes through three novels. A trilogy (from Greek τρι- tri-, “three” and -λογία -logia, “discourse”) is a set of three works of art that are connected, and that can be seen either as a single work or as three individual works. They are commonly found in literature, film, or video games. Three-part works that are considered components of a larger work also exist, such as the triptych or the three-movement sonata, but they are not commonly referred to with the term “trilogy.”

Van Buskirk was attracted to the ‘three novel’ book format through Samuel Beckett’s The Trilogy, consisting of three novels, Molloy, Malone Dies, and The Unnamable. Taken together, these three novels represent the high-water mark of the literary movement we call Modernism. Within their linguistic terrain, where stories are taken up, broken off, and taken up again, where voices rise and crumble and are resurrected, we can discern the essential lineaments of our modern condition, and encounter an awesome vision, tragic yet always compelling and always mysteriously invigorating, of consciousness trapped and struggling inside the boundaries of nature.


a Fake Vincent Van Gogh (1853-90) landscape is located on p.168 and 169 as a double-page spread. The Margin of the gutter divides the Image in two. The dimensions of the image on p.168 are 1042 X 1024 pixels and the image on p.169 is 1005 X 1024 pixels.


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Debates have arisen as to whether all biographies are fiction, especially when authors are writing about figures from the past. All history is seen through a perspective that is the product of our contemporary society and as a result biographical truths are constantly shifting. So the history biographers write about will not be the way that it happened. It will be the way they remembered it. Debates have also arisen concerning the importance of space in life writing.

On the other hand,  some years ago the Art Newspaper named eighteen “Van Goghs” in public collections that had been downgraded as fakes or are works of questionable authenticity. Most of them were taken off display, including pictures in the Van Gogh Museum, the Kröller-Müller Museum, the Detroit Institute of Arts and the Nationalmuseum in Stockholm.

Well recorded is the controversy reigning for many years regarding the authenticity of some forty oil paintings previously attributed to the Dutch master artist Vincent van Gogh. Believed by some commentators and van Gogh art experts, these works of art may in fact actually have been executed by one of Vincent van Gogh’s pupils, perhaps someone within van Gogh’s circle or even may be deliberately faked variations of Vincent van Gogh’s art works. But this is controversial and if so, a fraud effected right back at the turn of the last century. Art scholars and expert historians alike constantly challenge and raise issues about van Gogh’s oeuvre and presumably will continue to do so.

The margin space on the page between the binding and the inside edge illustration or any printed element is called the gutter. At some time you unquestionably experienced an insufficient gutter. You open a book to find that the text’s inside edge is partially obscured by the tight binding. You force the book to open wider and ultimately break its binding. Printing and binding technology has become highly precise, but some variance is inevitable. This book shows the image of the painting divided in two by means of a generous gutter.

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Examples of 2 Sentence paragraphs… (a play)

Examples of 2 sentence paragraphs are located on pages 33, 53, 56, 79 and 80, and collected into a monologue on p.340


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The title of this drama provides the stage directions. Based on the title, the Dramatis Personae is also as follows:

Page 33
Page 53
Page 56
Page 79
Page 80
Page 340

The Sapir–Whorf hypothesis in linguistics states that the grammatical structure of a mother language influences the way we perceive the world. The hypothesis has been largely abandoned by linguists as it has found very limited experimental support, at least in its strong form. “We cut nature up, organize it into concepts, and ascribe significances as we do, largely because we are parties to an agreement to organize it in this way – an agreement that holds throughout our speech community and is codified in the patterns of our language. The agreement is, of course, an implicit and unstated one, but its terms are absolutely obligatory; we cannot talk at all except by subscribing to the organization and classification of data which the agreement decrees.” – Whorf

Starting on p.23 a 72 word sentence is split…(a novel)


Starting on p.23 a 72 word sentence is split into 36 pages, dispersed at 2 words a page contained by 6 sets of 6 pages, with capital letters altered to lower case

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Publisher: Liver Pizza Press
Published: April 27, 2014
Language: English
Pages: 534
Binding: Perfect-bound Paperback
Interior Ink: Black & white
Weight: 1.92 lbs.
Dimensions (inches): 6 wide x 9 tall

A 72 word sentence is re-formatted by re-organizing the words of the sentence into a different system, but not into a different order. All the original capital letters have been changed to lower case. The novel also includes a table of contents for quick reference. Take a look at the preview provided on the Lulu page.

A single sentence question is placed five lines below…(a novel)


A single sentence question is placed five lines below the last sentence of “Fragment of a Novel” on p.114

(a novel)

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Is the title a proposal that two texts are differentiated by space? One clue is the fact that there is no attribution of author for either the last sentence of “Fragment for a Novel” or the single sentence question. The title of the novel explains the reason for the existence of the novel, but upon looking (inside the book) at p.114 other curiosities emerge. Text is also seen on p.111, 112, and 113. The font used for the text used in the last line of “Fragment of a Novel” is a different size than the text used for the single sentence question.

The title “Fragment of a Novel” appears in the title on the cover, referencing the last line of “Fragment of a Novel” on p.114. Because the font size of “Fragment of a Novel” is the same size as the text which begins on p.111, it can be concluded that the text from pages 111-114 is also a part of “Fragment of a Novel.” The fact that the question text is set with a larger font confirms this idea. It’s also not clear why the question is placed FIVE lines under the last line of “Fragment of a Novel.” If the question itself is not part of the text of “Fragment of a Novel” it makes sense it would be separated by five lines.


Single Sentence Question……………………………p.114:

“Fragment of a Novel” (by Lord Byron)………………………………..p.111

They insert a (digitally painted) image of an (untitled) ‘abstract expressionist’ painting onto page 17…(exhibition catalogue)

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A Duchamp readymade, a Picasso still life, a Jasper Johns flag, a Judd stack — these works were all but inaccessible in a small city in Minnesota. For Todd Van Buskirk the “originals” only ever existed as copies, poor reproductions in textbooks and magazines.

Times are changing for the traditional exhibition catalogue, those weighty tomes with four-color images of the works, newly commissioned scholarly essays, a list of lenders, and all the other usual components. In the last few years, a confluence of several factors – including budget cuts necessitated by the recession, the high cost of producing catalogues, low demand for them, advances in technology, and the shaky publishing environment – has caused many U.S. museums to rethink their catalogue programs and to forego some altogether.

Book-sized exhibition catalogues in the West typically have a colour photograph of every item on display, and also of other relevant works not in the exhibition (these usually smaller and often in black and white). There will be a short formal catalogue description of each item, and usually interpretative text often amounting to one or more pages.

When Van Buskirk is done with a painting, there is nothing to hang on a wall. The painting is on the hard disk of a computer. The usual way to make it presentable and salable is to project it on a traditional carrier, such as paper, canvas or polyester.

Working with two separate carriers – the hard disk where the artwork was created and saved as a file, and the paper, canvas, etc. on which it is projected and which becomes its actual physical appearance – raises some specific difficulties for digital artists as well as art dealers. The most prominent is: how to protect the numerical uniqueness of an artwork if the source is stored in single digits in the computer and can be exactly and infinitely reproduced?

The emergence of a market for digital art is currently still hampered by the fact that the original is often indistinguishable from the (cheaper) copy. As a result, along the current development path, the sale of the original painting is gradually supplanted by the sale of prints, and the market for digital art moves in the direction of the market for the printed book, where the original manuscript is mainly a tool to maximize the sale of exact copies.

Full title:

They insert a (digitally painted) image of an (untitled) ‘abstract expressionist’ painting onto page 17 (out of 32 un-numbered pages including the Title page). The remaining pages (except the Title page) are intentionally left Blank (starting on p.2). The original document size (or Pixel Dimensions) of the image is 2048 x 1024 pixels and the printed size (as printed on p.17) will be Approximately 1000 x 500 pixels.

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The book cover design