"Errantry" by Werner Pfeiffer

Introduction

Errantry is an artist’s book by the German-American artist Werner Pfeiffer, published in 2008 by Pear Whistle Press. It is a 27-foot-long canvas scroll, featuring text and imagery predominantly inspired by a Tolkien poem and 16th-century woodcut prints, that is housed inside a deactivated military shell from 1943. The 12th copy in a limited edition of 52, this scroll is housed in the University of Pennsylvania's Kislak Center for Special Collections, Rare Books and Manuscripts

Pfeiffer's provocative pairing of medium and message - using a repurposed instrument of 20th century warfare to chronicle that era's unparalleled death and destruction - epitomizes how artist’s books push the boundaries of the book form.

At the same time, the innovative format and socio-political content of this unusual work provide insight into the evolving role of artists as authors and the function of books as vehicles for creative expression and cultural critique.

Genre and Historical Context

Artist’s Books and Their History

While artists have been involved in the production of books in Europe since the early medieval period, such as the Book of Kells and the Très Riches Heures du Duc de Berry, most writers on the subject cite the English visionary artist and poet William Blake (1757–1827) as the earliest direct antecedent to the modern artist's book. Books such as Songs of Innocence and of Experience were written, illustrated, printed, coloured and bound by Blake and his wife Catherine, and the merging of handwritten texts and images created intensely vivid, hermetic works without any obvious precedents. These works would set the tone for later artist's books, connecting self-publishing and self-distribution with the integration of text, image and form. All of these factors have remained key concepts in artist's books up to the present day.

Artist’s books are works of art that utilize the form of the book. They are artworks in book form, often created in small editions or as unique objects, that use elements of the book such as covers, bindings, typography and layout as part of their aesthetic expression. Emerging in the 20th century alongside avant-garde art movements, artist's books challenged traditional notions of the book, blurring boundaries between art object and reading material. Early examples include Stéphane Mallarmé's visual poem Un Coup de Dés (1897) and the Futurist books of Filippo Marinetti in the 1910s. The genre expanded in the 1960s-70s as Conceptual artists experimented with the democratic multiple, while others explored handcrafted volumes. The range of formats has continued to grow, from altered texts to sculptural bookworks to digital forms.

Artist’s Background

Werner Pfeiffer, a distinguished book artist, made Errantry. He emigrated to the US from Germany in 1961 and joined the art faculty at Pratt Institute in New York in 1969. He lives in Red Hook, NY, where he works as a sculptor, printmaker and painter. Pfeiffer’s work is typically characterized by strong political undertones and innovative formats. add photo of pfeiffer

Artistic and Intellectual Context

Werner Pfeiffer can be considered to belong to a lineage of artists who have used books to respond to the atrocities of modern war and oppression. For example, Italian artist Fortunato Depero, in his 1927 "bolted book" Depero Futurista', evoked the violence of World War I through aggressive typography, while John Heartfield's 1934 Krieg und Leichen (War and Corpses) photomontage indicted the Nazi regime. In repurposing a real military artifact, Errantry takes this tradition a step further. Beyond specific military references, Errantry reflects a late 20th-century surge of artist’s books critiquing consumer culture, mass media and the political status quo, such as Edward Ruscha's deadpan photo-books and Martha Rosler's collage novels of the 1970s.

Errantry also engages bookmaking traditions beyond the artist’s book per se. Its accordion-fold scroll evokes the vertical Chinese scrolls and horizontal Japanese narrative handscrolls dating back centuries. Pfeiffer's illustrative marginalia evoke medieval illuminated manuscripts as well as the extra-textual elements of 19th-century Victorian novels. His use of literary and historical sources, from Tolkien to Maximilian, encapsulates his attempt to adapt the past in a critique of the present.

In its combination of word and image, original artwork and repurposed text, codex and anti-codex formats, Errantry embodies the revolutionary hybridity of the artist’s book form. It links the genre's past to its present, using new technologies like digital printing to examine age-old themes of human conflict. Through both its innovative formats and critical content, Pfeiffer's work exemplifies how contemporary artist’s books act as sites of creative expression and socio-political intervention.

Contents and Organization

Scroll Contents

Errantry's 27-foot-long canvas scroll interweaves three main visual elements: 1. An adapted text of J.R.R. Tolkien's 1933 poem '"Errantry"' 2. Illustrations inspired by the militant characters and postures depicted in the 16th-century woodcut series '"The Triumphal Procession of Emperor Maximilian"' 3. A timeline of 20th-century c and their death tolls running along the bottom, based on 'historian Piero Scaruffi's research'

The title and text are based on a poem written by J.R.R. Tolkien in the 1930s. In his artist’s statement, Pfeiffer says, “The poem used in this scroll is an adaptation, with only two or three lines directly quoting the original. What is similar is the syntax, rhyme and meter of Tolkien’s writing.” The scroll begins with red text that provides context for both the poem and the illustrations. It introduces J.R.R. Tolkien's "Errantry" as the inspiration for the adapted text, explaining that while only a few lines are direct quotations, the scroll mimics the original poem's "syntax, rhyme and meter." This introductory text also credits the 16th-century "Triumphal Procession of Emperor Maximilian" woodcut series as the source for the scroll's militant imagery.

Following the expository introduction in red text, the body of the scroll then unfolds into a sequence of unique illustrations reminiscent of a chimeric combination of mechanical machinery and war-ready soldiers. These illustrations are accompanied by lines of a poem from Pfeiffer's adapted text, printed in black ink using a bold, ornate font reminiscent of early printed books. The original Tolkien poem is considered a celebration of whimsy and “nonsensical adventure.” Pfeiffer’s text is more suitable for his work, adapting Tolkien's light verse celebrating a carefree wanderer into lines of “malcontent.” insert photo of illustrations closeup

“One of the dominant features in this document is the militant nature of many of the characters depicted, as well as their posture in parading their arms on horse, by carriage or on foot,” Pfeiffer writes in his artist’s statement. “The text and images are set against a chronology of war, conflict, and genocide in the 20th century.”