Revised Evidence: Vladimir Nabokov's Inscriptions, Annotations, Corrections, and Butterfly Descriptions, a related exhibition organized by Glenn Horowitz Bookseller, Inc. (19 East 76th Street, New York City) and designed by Barbara Bloom, is on view from April 21-June 18, 1999. The exhibition is drawn from Horowitz's acquisition of nearly two hundred books by Vladimir Nabokov from his own library, many of them inscribed to his wife with the author's hand-drawn butterflies.
and from the New York Times:
GLENN HOROWITZ BOOKSELLER may have earned a little niche in the history of late Conceptual Art. For the centennial of Vladimir Nabokov's birth, Mr. Horowitz invited the artist Barbara Bloom to create an installation using the Nabokov material he had assembled. This included a great number of first editions annotated by the author or inscribed to his wife (and first reader and typist), Vera, almost always with a drawing of a butterfly. There are also nearly two dozen first editions of Nabokov's most famous book, ''Lolita,'' in different languages and with wide-ranging jacket designs.
The resulting installation is a marvel that if carefully attended to can give the viewer/reader the odd sensation of being inside Nabokov's brain, where various passions -- for writing and language, for the collection and study of butterflies, for history and for his wife -- mingle, illuminate and incite one another.
Ms. Bloom, whose interest in Nabokov is longstanding, achieved this with her usual sense of craft, which is more than a little obsessive itself. She has created a rug based on the author's copy of an edition of ''Lolita,'' its green cover heavily annotated. On the computer she designed a font based on Nabokov's handwriting so she can display excerpts from his books on the 3-by-5 cards on which he wrote them. There's even Nabokov wallpaper, dotted with butterflies, snippets of annotated text, corrected copy, deletions and additions as well as the noticeably ribald verses of an unpublished poem version of ''Lolita.''
Under glass are displays of butterflies, including the blues that were Nabokov's particular passion, and arrangements of tiny photographs, many of them doubled into wing-like symmetry.
This is a dizzying show, which may precipitate a reading or rereading of the master's works and is probably most comprehensible when viewed with a magnifying glass, given the fineness of some of the print. Ultimately, one comes away thinking of the pages of Nabokov's open books as the wings of butterflies. He scrutinized both with an intensity that this show makes fantastically manifest.
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