7.25 x 9.75 in., 36 pages,
clothbound hardcover, color offset
Edition of 500
Publication date: February 2013
Lichen, Lichen weaves together drawings and photographs made by the artist in the desert of the western United States. The photographs depict desert landscapes, images of lichen, as well as in one instance, the deadliest snake in North America. The drawings, which are watercolor and indigo pigment on lichen-dyed paper are shown surrounding the photographs. The work revolves around the land. Close up views of each drawing are shown on the following page.
(via Hassla) (via Printed Matter)
• 3 March 2013
Oakland, CA: Land and Sea. 2012
Pages: 280 p.
Cover: Softcover - Other
Binding: glue bound
Signed: Unsigned and Unnumbered
OLD FAITHFUL INVERSION AND EMPIRE.
FLIP THE BOOK ONE WAY YOU GET EMPIRE, THE OTHER, OLD FAITHFUL INVERSION.
INTRODUCTION ESSAY BY KARSTEN LUND/ASSISTANT CURATOR OF THE MCA CHICAGO.
REGULAR EDITION OF 50 AVAILABLE FOR PURCHASE ON THE SIDE BAR.
ARTIST EDITION OF 5 COMES IN A RECLAIMED FILM REEL CANISTER WITH A SLIVER OF ORIGINAL FILM FROM OLD FAITHFUL INVERSION USED AS A WAY TO LIFT THE BOOK FROM ITS CASE. THE EDITION IS HAND STAMPED AND NUMBERED. NONE ARE IDENTICAL. CONTACT US FOR ARTIST EDITION.
(via PrintedMatter.org & Land and Sea )
• 16 November 2012
land and sea
The NY Art Book Fair, MoMA PS1
Symposium on emerging practices and debates within art-book culture
Tickets begin at $20
The Contemporary Artists’ Books Conference is a dynamic, two-day event focused on emerging practices and debates within art-book culture. Full conference tickets, which include a newly commissioned book by Emily Roysdon, are now available online (single-session tickets are also available).
The Contemporary Artists’ Books Conference is organized by Printed Matter, Inc. and The NY Art Book Fair, November 5–7 at MoMA PS1, featuring more than 280 international presses, booksellers, antiquarians, museums, galleries, and artists from twenty-four countries, exhibiting the very best of contemporary art publishing. Admission to the NY Art Book Fair is free, including the preview, Thursday, November 4 from 6-9 p.m. Visit the NY Art Book Fair website and Facebook page for updates as well as a complete list of programs.
FRIDAY, NOVEMBER 5, 2010
11:00 a.m. - 12:30 p.m.
Furthering the Critical Dialogue
This session will further a key concern of last year’s Conference: the state of artists’ books criticism. Through myriad critical approaches, speakers will not discuss the “state of” artists books criticism per se, but instead directly engage in a critical evaluation of select works.
Participants include: Tate Shaw, director, Visual Studies Workshop; Karen Schiff, artist, New York; Susan Viguers, director, Book Arts/ Printmaking MFA program, University of the Arts; and Kathleen Walkup, professor and director of the Book Art program, Mills College. Moderated by Tony White, Indiana University Libraries.
2:00 - 3:30 p.m.
Typography and Writing
Without typography, the published word does not exist. How do contemporary writers engage with form? How have designers grappled with the concept of authorship? With the rise of digital publishing, writers have new opportunities to think about how their work is produced and distributed. This session will explore typography and design across a range of current publishing formats.
Participants include: Ellen Lupton, Cooper-Hewitt Museum and Maryland Institute College of Art; and Will Holder, artist, London.
4:00 - 5:30 p.m.
Keynote: Richard Hell, Josh Smith, and Christopher Wool
A conversation between three artists whose recent collaborations include such books as Psychopts (JMC & GHB Editions, 2008) and Can your monkey do the dog (MFC Michele Didier, 2007).
5:45 - 6:45 p.m.
Pecha Kucha: Artists’ Books, Zines, and Publishing
This pecha kucha (the Japanese word for “the sound of conversation”), will consist of ten presenters offering fifteen slides each, displayed twenty seconds at a time. Presenters will have five minutes to discuss each project based on interest, influence, or intrigue. The quick pace and strictly enforced time limit of this session format ensures a lively, engaging and entertaining discussion.
Participants include: Tony White, Indiana University Libraries; Jae Rossman, assistant director for Special Collections, Robert B. Haas Family Arts Library, Yale University; and Karen Schiff, artist, New York; and others.
SATURDAY, NOVEMBER 6, 2010
11:00 a.m. - 12:30 p.m.
Experimental Libraries and Reading Rooms
What constitutes an experimental library? What is the impetus to create such a library and what impact do such spaces have on our exchange of ideas, the conduct of research, or the creation of art? Does this impulse stem from a need to create an intellectual community outside of academia, address an underrepresented subject, articulate an intellectual curiosity, or is it simply nostalgia for printed books and libraries? These spaces share the common trait of presenting unique collections of research material to the public. Martha Wilson of Franklin Furnace will give an introductory presentation.
Participants include: Wendy Yao, Ooga Booga; Andrew Beccone, the Reanimation Library; Robin Cameron and Jason Polan, the Assembled Picture Library; and Tiffany Malakooti and Babok Radboy, Bidoun Library. Moderated by Renaud Proch, Independent Curators International (ICI).
2:00 - 3:30 p.m.
Riot Grrrl: Traces of a Movement
Riot Grrrl is a feminist movement that rose during the mid-1990s and is closely associated with punk rock, radical politics, and a DIY ethic. Its participants left behind a lengthy paper trail of film, photography, art, video, music, and zines, a selection of which have recently entered the Fales Library and Special Collections at New York University. This panel of artists, musicians, and writers will discuss the history and cultural artifacts of the movement.
Participants include: Lisa Darms, Fales Library, NYU; Jenna Freedman, Barnard College
Library; Sarah Marcus; and Molly Neuman. Moderated by Gretchen Wagner..
4:00 - 5:30 p.m.
The Pedagogy of Artists’ Publications
Artists’ publications have a presence in academia beyond the usual bookmaking class. This session steps back from the technical aspects of publishing to survey the way in which this practice manifests within the classroom. How do conversations overlap or diverge from the DIY. ethos of artists’ zines? In what way might individuals and institutions continue to support the field of artists’ publications? By convening a group of practitioners from various backgrounds, including recent MFA-program graduates, this panel will explore the current climate of pedagogy surrounding artists’ publications.
Participants include: Kirby Gookin, department of Art and Art Professions, New York University; Duncan Hamilton, department of Communications Design, Pratt Institute; Megan Plunkett and Daniel Wagner, The Kingsboro Press; and Ruby Sky Stiler, Steinhardt School of Education, New York University. Moderated by Catherine Krudy, director, Printed Matter, Inc.
5:45 - 6:45 p.m.
Closing Reception, with Emily Roydson
Join us for a reception in celebration of the release of a specially commissioned book by Emily Roysdon, an interdisciplinary artist and writer who examines the intersections of choreography and politics. Roysdon’s book is a meditation on vintage photographs of the New York piers by queer photographer Alvin Baltrop.
Printed Matter, Inc. presents
The NY Art Book Fair, November 5–7, 2010
MoMA PS1, 22-25 Jackson Ave. at the intersection of 46th Ave., Long Island City, NY
Free and open to the public:
Preview: November 4, 6-9 p.m.
Friday & Saturday, November 5 & 6, 11 a.m. - 7 p.m.
Sunday, November 7, 11 a.m. - 5 p.m.
Image: Emily Roydson with photography by Alvin Baltrop, West Street, 2010. Forthcoming artists’ book, published on the occasion of the NY Art Book Fair and the Contemporary Artists’ Books Conference.
• 31 October 2010
Art Book Fair
PrintedMatter.org : William E. Jones– Killed : Rejected Images of the Farm Security Administration
In this simple and insightful project, Jones presents a collection of cast-off photographs from the Farm Security Administration project as a lens through which to look at an encounter between socially committed documentary photography and the ideological and bureaucratic forces of the state, looking at one depression from the perspective of another. The book presents those photos “killed” by FSA director Roy Stryker, a poetic term for his editorial process of marking those negatives that he deemed unfit for developing with a hole punch, which appear in this book as matte-black voids in the surface of the glossy, black-and-white photos. Jones frames Stryker’s intervention as an act that opens a space for reconsideration of the individual photographs and the FSA project as a whole, speculating on the ideological, aesthetic, and political motivations and implications, a compelling investigation that sits alongside the strange beauty of the images themselves.
• 8 September 2010