Réponse de Greg Allen à la question si cet ouvrage est un livre d'artiste et si lui-même se considère comme un artiste: "For the shortest response, related perhaps to taxonomy or cataloguing, I agree to be described as an artist, though I generally avoid claiming this role for myself. There are a couple of variations of the books. The entire project can be considered a work of art. Some books, those ordered via websites like Amazon, which come directly from the distributor, are probably best considered as documents. When bookstores order books from me, I stamp them myself, and fulfill their orders. These could be considered a special edition, but not limited or numbered. A very few examples of the books have been prepared by me with a painted insert, and highlights/drawings. These are usually for friends, trade with artists, or, for sale in exhibition. I believe a pair of volumes like this was provided to a bookstore in Geneva recently, and if this is the particular set you are wondering about, they can certainly be considered artist books. The inspiration for this project was the unexpectedly substantive comments of a well-known artist who was compelled to discuss his work in a context beyond his control. Preserving and making the legal documentation available in an art context was certainly my goal, and however that is accomplished is fine: whether as criticism, art historical text, art, or performance. [I have so far done one staged reading of excerpts from Prince's deposition, and produced a unique hand-painted copy of the transcript for the collector involved with it.] A direct model for the books project was Martha Buskirk and Clara Weyergraf Serra's anthology, The Destruction of Tilted Arc [October Books]. That said, I intentionally opted for a facsimile approach rather than an editorial one because I felt that the aesthetic and informational elements of the court documents with their original formatting was significant, and I felt its absence in the Tilted