The Animal is in the World Like Water in Water. Leslie Scalapino, Kiki Smith. Granary Books. 2010.
The Animal is in the World Like Water in Water. Leslie Scalapino, Kiki Smith. Granary Books. 2010.
The Animal is in the World Like Water in Water. Leslie Scalapino, Kiki Smith. Granary Books. 2010.
The Animal is in the World Like Water in Water. Leslie Scalapino, Kiki Smith. Granary Books. 2010.
The Animal is in the World Like Water in Water. Leslie Scalapino, Kiki Smith. Granary Books. 2010.
The Animal is in the World Like Water in Water. Leslie Scalapino, Kiki Smith. Granary Books. 2010.

The Animal is in the World Like Water in Water.

Granary Books, 2010. Item #GB_147

9 1/2 x 15 3/4 in., 40 pp., accordion-fold book with suede wrappers, clamshell box. 

The following commentary by Leslie Scalapino is excerpted, in part, from "The Division Between Fact and Experience:" 

The Animal is in the World like Water in Water is a collaboration of drawings by Kiki Smith and poetry by Leslie Scalapino (myself), published by Granary Books in 2010. Kiki Smith sent me color Xeroxes of a completed sequence, forty-three drawings, which she’d titled, Women Being Eaten by Animals. I wrote the poem using the sense of an unalterable past occurrence: one female, apparently the same girl, is repeatedly, in very similar images as variations, bitten and clawed by a leopard-like, lion-like animal. Both person and animal have abstracted features, giving the impression of innocence or opaqueness. As in a dream of similar actions or a dream of a single, timeless action, the girl flecked with blood while being unaltered by the animal’s touch, there is no representation of motion except stillness of the figures floating in space of page. Neither the girl nor the animal articulate expression, as if phenomena of feeling(s) do not exist.

"The words make in an outside/space a sense of the undoing of social tyranny as undoing of any hierarchy in individuals’ feelings and perception as well as in people’s values (public indistinguishable from private). Without hierarchy, past-reality-future is apparently free paradise of childhood and of birds. This outside space of the word/or that is my words abuts the other visible space of "Women being eaten by animals" (Kiki’s original title). While reading as well as seeing the images (but also if only seeing the visual images?), the viewer has the experience of body and mind being separated as if that is caused by the outside world. This experience of the viewer arises from their sense, in seeing, that one is separated from the scene of the girl and the animal alone together as if making love; and a sense of separation arises from the girl and animal not mimicking expressions of experiencing sensations. The disconnect that’s itself the dreamlike dialogue between ‘not being experienced (by the senses)’— and separation or union (both together?) of mind/eye and body/sight—has to be first enacted by Smith’s visual images, in order for the language to broach this (subject) matter at all. Is dialogue possible without language?”
–Leslie Scalapino

This book was produced by Katherine Kuehn and Steve Clay. The digital prints by Justin Israels are individually handcolored ("activated" in her term) by Kiki Smith. The book is accordion-bound in ultra suede by Daniel Kelm at the Wide Awake Garage and housed in a clamshell box. This is from an edition of 45 copies, of which approx. 30 are for sale; each numbered and signed by the poet and artist. Out-of-print.

ABOUT LESLIE SCALAPINO: Leslie Scalapino (1947–2010), poet, novelist, and essayist, was born in Santa Barbara and raised in Berkeley. She attended Reed College and UC Berkeley before founding O Books. Her poetry volumes include Considering how exaggerated music is (1982); Way (1988); New Time (1996); Sight (1999), a collaboration with Lyn Hejinian; Zither & Autobiography (2003); Day Ocean State of Stars' Night (2007); and It's go in horizontal: Selected Poems, 1974-2006 (2008). Among her more than fifteen books of prose and inter-genre writing are How Phenomena Appear to Unfold (1991); Goya's L.A., a Play (1994); and the novel Defoe (1994). The Tango, a collaboration with visual artist Marina Adams, was published by Granary Books in 2001. The Dihedrons Gazelle-Dihedrals Zoom was published in 2010. Scalapino's honors include an American Book Award from the Before Columbus Foundation, two NEA Grants, the Lawrence Lipton Prize, a Zellerbach Grant, and the Poetry Center Award from San Francisco State University. She has taught at Mills College, Bard College, the San Francisco Art Institute, and the Otis Art Institute. Read more at and

Kiki Smith (b. 1954) is an artist of international prominence whose career has spanned over three decades. Smith is a leading figure amongst artists addressing the philosophical, social, legal, and spiritual aspects of human nature. The artist lives and works in New York City and has exhibited with PaceWildenstein Gallery since 1994.

Smith’s work has been shown in nearly 150 one-person exhibitions, including the Corcoran Gallery of Art, Washington, D.C.; Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C.; International Center of Photography, New York; Louisiana Museum of Modern Art, Humlebaek, Denmark; the Montreal Museum of Fine Arts, Canada; The Museum of Modern Art, New York; The Israel Museum, Jerusalem; Modern Art Museum, Fort Worth, Texas; The Nelson-Atkins Museum of Art, Kansas City, MO; Irish Museum of Modern Art, Dublin.

Kiki Smith: Her Memory, will go on view at the Fundació Joan Miró, Barcelona, on February 19, 2009, where it will remain through May 24, 2009.  This exhibition of new works, which began as Kiki Smith: Her Home, at the Museum Haus Esters, Kunstmuseen Krefeld in Germany (March 16–August 24, 2008), explores a woman’s life from birth to death.  The show travels to Barcelona from the Kunsthalle Nürnberg, Germany, where it was on view from September 18-November 16, 2008.

In 2006, the Walker Art Center, Minneapolis organized Smith’s first major traveling retrospective. The exhibition opened at the San Francisco Museum of Modern Art (November 19, 2005–January 29, 2006) and then traveled to the Walker Art Center (February 26–May 14, 2006); the Contemporary Arts Museum, Houston (July 22, 2006–September 24, 2006); and the Whitney Museum of American Art (November 16 through February 11, 2007). In 2005, Smith installed Homespun Tales: a tale of domestic occupation at the Fondazione Querini Stampalia, a museum house in Venice, Italy.  In 2003, The Museum of Modern Art, New York exhibited a survey of Smith’s printed art, Kiki Smith: Prints, Books & Things.

In 2000, the Skowhegan School of Painting and Sculpture awarded Smith with their prestigious Skowhegan Medal for Sculpture. She was elected to the American Academy of Arts and Letters, New York, in 2005, and most recently, the Rhode Island School of Design honored her with the Athena Award for Excellence in Printmaking.

Smith’s work can be seen in public collections worldwide.

Pictured: p. 19 detail; pp. 15–16; p. 16 detail; pp. 27–29; 29–30; p. 29 detail; pp. 37–38.

Complete digitized work available at Reed College Artists' Books website.

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