Point of Sale operates as a functioning bookshop for the duration of less like an object more like the weather, March 24 to May 26, 2013, Hessel Museum of Art, New York.
The bookshop’s display structure is the result of a site-specific commission by Studio Manuel Raeder, which focuses on close collaborations with artists, designers, curators, theorists, and musicians in a wide range of formats that include exhibitions, publications, type design, and furniture design.
For Point of Sale, the Studio has designed a setting that can function simultaneously as a retail operation, reading room, and social space and has adapted existing structural elements from the Hessel Museum of Art.
The inventory of Point of Sale has been selected in relation to the concurrent spring exhibitions and their participant’s respective conceptual investments.
Point of Sale presents and circulates various art publishing efforts through processes of economic exchange, to activate the intersection between art, entrepreneurship, and publishing—particularly as it has occurred and continues to occur through CCS Bard’s expanded network. In this way, the bookshop as a site within the art institution’s infrastructure has become available for curatorial and economic intervention.
Golden Spike Press is a collaborative publishing project founded and operated at the California Institute of the Arts, specialized in artists’ books and multiples, largely produced with Risograph Digital Duplicators.
A List of Students Enrolled In Post Studio Art, With Michael Asher At Calarts 1976–2008 consists of a list of students enrolled in Michael Asher’s Post Studio Art class at CalArts, semester by semester, from 1976 until 2008. The project, compiled and edited by Leslie Dick & Adriano Pedrosa, designed by Michael Ray-Von, is in memory of Michael Asher.
Post Studio Art met on Fridays to critique and discuss work presented by students. The class began at 10 AM and continued into the evening, often ending at 8 PM, 10 PM, and occasionally even later. The group continued the conversation until there was nothing more to say. By throwing out the clock, Michael Asher opened up a space for engaged consideration and questioning that proved fundamental to the thinking and practice of the artists and others who took part.
The list of students published here acknowledges the participants in a discourse, without attempting to describe or define the discourse. The book includes a short introduction and seven appendices.
Fernand Baudin (1918-2005) was a belgian typographer, or “typographiste” as he liked to call himself. Teacher, author and lecturer, his extensive study focused on the history and teaching of writing and publishing.
Drawing from Fernand Baudin’s collection kept in the rare books and manuscripts section at the Université libre de Bruxelles, this Dossier Fernand Baudin – published for the fifth edition of the Fernand Baudin Prize, prepared by Coline Sunier & Charles Mazé, and launched on the occasion of PA/PER VIEW, at WIELS, Brussels, March 22, 7.30pm – gathers texts written or translated by Baudin, previously unreleased or published in various journals, or read in conferences, covering a period going from 1958 to 1998. Presented in a chronological order, this selection of texts conveys a panorama of his various activities, the ideas he developed and advocated, and gives a glimpse on the network of friendly and professional relationships Baudin established during his entire career.
Through their chronology and the history they depict, the facsimiles naturally offer an insight on the technical evolutions in the field of the graphic industry, a particular concern for Baudin. When taken as a whole, they allow highlighting Fernand Baudin’s position on the role of writing in the printing process, from the author’s draft to the final, published edition via all the intermediary stages. Specifically created for this publication, Fernand Baudin Bille and Fernand Baudin Feutre are digital interpretations of Baudin’s “ballpoint pen” and “felt pen” handwriting.
This Dossier Fernand Baudin refers to the Dossiers prepared by Fernand Baudin for the Association des Compagnons de Lure between 1969 and 1975. These Dossiers include documents and contributions selected by Baudin. Each opus is dedicated to a single subject or a single theme, such as writing or layout. In Dossier Layout (1972), Baudin gathers and annotates a selection of working documents sent by graphic designers and typographers. This method was employed in a separate section of the Dossier, to present the nine books awarded this year with a Fernand Baudin Prize.
From artists’ books, magazines, and museum catalogues to opening announcements, advertisements, and event scores, printed matter has long been a dynamic element of art discourse and practice. But these materials, ephemeral by nature, have not always been preserved. Today, with our unprecedented access to information—virtual, downloadable, on-demand—there is a renewed interest in print’s material dimensions and the ways publication can be both a historical resource and a platform for art-making.
Excursus is a multifaceted initiative at the Institute of Contemporary Art, Philadelphia, in which artists, designers, publishers, and other cultural producers whose work engages the archive and publication are invited to create a platform for more intimate programming, alongside an online residency.
For Excursus IV, Primary Information has been invited to delve into ICA archive and to reflect on its contemporary potential. Through an engagement with ICA’s own critical history of publishing, Primary Information’s project will unfold over the coming weeks with a series of events in the installation and interventions on the Excursus website…
Ray Johnson (1927-1995) was a seminal Pop Art figure in the 1950s, an early conceptualist, and a pioneer of mail art. His preferred medium was collage, that quintessentially twentieth-century art form that reflects the increased (as the century wore on) collision of disparate visual and verbal information that bombards modern man. Integrating texts and images drawn from a multiplicity of sources — from mass media to telephone conversations — Johnson’s innovativeness spread beyond the confines of the purely visual. He staged what Suzi Gablik described in Pop Art Redefined as perhaps the “first informal happening” and moved into mail art, artist books, graphic design, and sculpture, working in all modes simultaneously. Johnson not only operated in what Rauschenberg famously called “the gap between art and life,” but he also erased the distinction between them. His entire being – a reflection of his obsessively creative mind – was actually one continuous “work of art.” His works reflect his encyclopedic erudition, his promiscuous range of interests, and an uncanny proto-Google ability to discover connections between a myriad of images, facts and people…
Each year Werkplaats Typografie organises its “Best Books” selection, where every participant chooses a book according to a specific criteria. The criteria for the most recent selection derived from a discussion with Kobe Matthys from Agency, Belgium. The resulting publication collects conversations and meetings with and around books with Kees Beentjes, Katherina Bornefeld, Tamara Henderson, Harmen de Hoop, Oliver Ibsen, Colter Jacobsen, The Librarian at Arnhem’s Public Library, Henk Pel, Seth Siegelaub, Matthew Stadler, Joëlle Tuerlinckx, and Ashleigh Young. …………. book will be launched March 16, from 5pm at San Serriffe in Amsterdam.
COPY & REPEAT is an exhibition of contemporary artistic reflections on the subject of reproduction and the related techniques. The exhibition catalogue – launched March 7, 7 pm, Kunsthalle der Sparkasse Leipzig – is documenting the work of all the participating artists and reflects the project in its entirety. Each chapter of the book appears as if they were torn from a different origin, and as such the entirety looks like a compilation of copies. Only their representational quality and sampling disclose to what extent book formats create a visual kind of content. Additional reference material of the art works is shown to question the “origin” and compiled a glossary out of several sources.
Le catalogue et ses hybrides / The Catalog’s Mongrels is a proposal of one possible way to document/trace the same name exhibition.
The exhibitions The Catalog and its hybrids – curated by Charlotte Cheetham – introduced publishing projects reflecting the diversity of publications that are associated with the exhibition context… The catalog of the project, designed by officeabc, tries to embody its own statement…
All informations about the project:
These printed sites of encounter – a format of interaction between an art space (art center, gallery, museum…), a curator, an artist, a graphic designer, a theorist… – question, particularly, the potential of the book object to be an alternative to the exhibition space.
From a documental object – the catalogue – to a composite printed form – the artist book – some of these publications offer a more complex treatment of the documentation of artistic production and curatorial practices.
A source, trace or extension of the ephemeral, each of these printed experiences, which are reactivated at each new reading, constitute an alternative space of living memory, a new context for the existence of a work of art.
- Introduction & Promenade (Charlotte Cheetham)
- A kind of bibliography The Catalog and its hybrids
– An extract of the The Catalog and its hybrids collection
- Seth Siegelaub: to exhibit, to publish… (Jérôme Dupeyrat)
- A case of tic, tac, toe et Notes about a flyer (officeabc)
• a tumblr bookmark
• sticker Museum of Museum
• cards “teaser/clue to a catalogue”
Typography: Devanture par Sarah Kremer
Translation: Mafalda Dâmaso & officeabc
Print: Print it
A project supported by Toulous’up, label et bourse de la ville de Toulouse.
For now, Le catalogue et ses hybrides / The Catalog’s Mongrels is also on sale at Librairie du Palais de Tokyo (Paris), Florence Loewy Books by artists (Paris), & : Christophe Daviet-Thery (Paris), THEOPHILE’S PAPERS (Bruxelles), Motto Berlin (Berlin).
Lange Liste 79–97, by Christian Lange, documents the everyday life of family Lange using meticulously kept cash books. Gisela Lange, the mother of the designer, gathered endless accounts of groceries, taxes, parties, leisure activities, clothes or presents with an exact price index. To complement the cycle of this everyday life narratively, the first 18 years of life, from 1979 to 1997, were analyzed and summarized in appropriate categories. Brief explanations and interviews with protagonists of the list illustrate important moments. A series of family photos, pictures of products, certificates and receipts add to the family`s archive. With its 12.051 items, Lange Liste 79–97 grants a detailed impression of the hidden desires, pleasures and losses of a family’s household kept in two different political and economical systems…
©photo Céline Chip et Léna Araguas, Ensba Lyon, 2013
Seule ou prise dans une série, flanquée ou non d’une légende, bordée par un texte où s’affichant sans parure, l’image se présente le plus souvent à nous éditée (terme entendu ici dans un sens étendu, celui que recouvrent les différentes acceptions du terme anglais edit).
C’est cette question de l’image éditée qui est au centre du présent recueil – lequel rassemble des textes et documents originaux, rares ou devenus indisponibles – et qui a inspiré son titre, Seule ou Accompagnée.
S’éloignant des protocoles d’organisation stricts qui régissent le plus souvent les anthologies, ce recueil est d’abord un catalogue de gestes éditoriaux. Enquêter, copier, traduire, transcrire, collectionner, prélever, sélectionner, déplacer, recadrer, remettre en circulation, couper, légender, monter sont autant d’opérations qui sont ici documentées en même temps qu’elles sont mises en pratique. Ces gestes ont partie liée avec une culture visuelle élargie, qui s’étend de la littérature au cinéma, de la théorie à l’entertainment, du photojournalisme à la science-fiction, de la télévision à la presse à grand tirage. Ils nous racontent en la rejouant la romance de l’image et du texte.
Seule ou Accompagnée est le fruit d’un atelier de recherche éditoriale mené depuis 2011 par Jean-Marie Courant, Jill Gasparina et Catherine Guiral avec les étudiants du master Design de l’Ensba Lyon.
Dans un premier temps, l’atelier a pris la forme d’un séminaire de recherche au sein duquel a été menée une exploration bibliographique et théorique. Ce premier atelier était ouvert à l’ensemble des étudiants du master et a été accompagné d’octobre 2011 à janvier 2012 par un cycle de conférences. Dans un second temps, il s’est agit d’éditer certains contenus que ces premières recherches avaient mis au jour et de les rassembler dans un volume, qui a pris la forme du présent ouvrage. S’il rend compte des premières recherches menées en atelier, il les prolonge et les augmente aussi, rejouant d’une manière singulière une romance pourtant souvent interprétée.
Seule ou Accompagnée sera présentée le 2 mars à 14h, dans le cadre de Crystal Maze IV — 1 + 2 + 3 = 3, au Centre Pompidou, Paris.
In the 1960s and 1970s, the artist Ed Ruscha created a series of small photo-conceptual artist’s books, among them Twentysix Gas Stations, Various Small Fires, Every Building on the Sunset Strip, Thirtyfour Parking Lots, Real Estate Opportunities, and A Few Palm Trees. Featuring mundane subjects photographed prosaically, with idiosyncratically deadpan titles, these “small books” were sought after, collected, and loved by Ruscha’s fans and fellow artists. Over the past thirty years, close to 100 other small books that appropriated or paid homage to Ruscha’s have appeared throughout the world.
VARIOUS SMALL BOOKS, Referencing Various Small Books by Ed Ruscha collects ninety-one of these projects, showcasing the cover and sample layouts from each along with a description of the work. It also includes selections from Ruscha’s books and an appendix listing all known Ruscha book tributes…
©Dominique Hurth, diagrams, 2013
Saturday 23, 7pm, at Scriptings, Berlin, join for an evening of live presentations by some of the contributors to the publication We would like to learn, and we are working on a book. This book is a classroom. and others, including Paolo Caffoni, Dominique Hurth, Achim Lengerer, H.I.T, Lucie Kolb, Romy Rüegger.
Paolo Caffoni on a series of publications called 150 hours. The publications in question consist of preparatory teaching notes for the education of workers, housewives and the unemployed, developed in Italy in the 1970s. The signing of the metalmeccanici (engineering workers) employment contract in April 1973, brought an important period of trade union struggles to an end. As a result, 150 hours of paid work were allotted to workers every three years for “educational and cultural” use.
Dominique Hurth, Séance de lecture. In the format of exhibitions, readings and publications, Hurth explores in a nonlinear manner, historical narratives that are present in localities, words and images. Séance de lecture explores in images and texts her current work on the physical manifestation of a book in an exhibition space, the materiality of writing and syntax, and the physicality and performativity of reading, looking subjectively at Stéphane Mallarmé and Herbert Bayer.
Lucie Kolb, Romy Rüegger and Achim Lengerer in conversation about the publication We would like to learn, and are working on a book. This book is a classroom. are taking a look at the book as medium and different modes of authorship connected to it. The space of the book is circumscribed and structured by its parameters: format, binding, jacket, title page, layout, preface, postface, table of contents, captions, cross headings, intertitles, annotations, editorial notes, appendix, blurb, names and accessories, thus creating authorship(s) consisting of varying roles and producing horizontal connections within the reading. With H.I.T. MUSIC & visuals.
Publishing as (part-time) Practice highlight graphic designers who are also publishers, and pursue a discussion of the designer’s changing professional role as both author and publisher.
At Motto Charlottenborg, February 20, 6pm, there will be an exhibition of a fine collection of books from Danish and Swedish small-scale publishers. Louise Sidenius (Internationalistisk Ideale, Monade), Matilda Plöjel, Mattias Jakobsson & Peter Ström will talk about small-scale publishing initiatives, as well as similarities between the Danish and Swedish independent publishing scenes.
Publishing as (part-time) Practice small tour will continue March 16–17 in Leipzig during It’s a Book, it’s a Stage, it’s a Public Place; and April 20 in Oslo, at Torpedo Books / Grafill.
Beat Book Covers is a compilation of front covers of various editions of books by Jack Kerouac, William S. Burroughs, Neal Cassady, John Clellon Holmes, and David Goodis books.
Drawing influence from other programs of this type in Switzerland, Germany, Belgium and the Netherlands, the Most Beautiful Books—Australia & New Zealand biennial award program has been established to recognise excellence and innovation in contemporary book design and production in Australia and New Zealand. MBBANZ operates on an open submission basis: books may be submitted by designers, publishers or printers, but also by readers, retailers and others. Entries close March 1. 2013 Jury: Peter Corrigan, James Langdon, Denise Whitehouse, Warren Taylor, Layla Tweedie-Cullen.
There was an empty room in the back of the Werkplaats Typografie. One day, that void has been pushed out of the two doors. In 2012 eighteen people had to find that space somewhere else.
During six separate excursions, throughout Arnhem and the Netherlands, they explored the potentialities of the destruction and construction of new lands, they travelled far in order to look back, they tried to escape to freedom in a dead-end, they cancelled a day, and they finally found nowhere-man in nowhere-land. They searched for the room that they had lost, or for the conditions and materials with which to rebuild it, and in doing so began to expand the walls of the school along a whole new set of trajectories and possibilities.
Cosmic mental therapy (in the realm of the necessary decision) – launched february 7, 7pm, Motto, Berlin – is a collection of texts – edited by Noah Venezia and Stefano Faoro with support from Maxine Kopsa – that were gathered through the past year as the Werkplaats Typografie participants of Year 12 and Year 13 collectively attempted to identify, destroy or run from established sovereignty in an attempt to search for something new.
L.I.E (Library of Independent Exchange), a temporary arts reference library, presents, at The Newbridge Project, Newcastle, until February 15, L.I.E Outpost Crate No.1, featuring a selection of titles from L.I.E’s permanent collection, 3 Script works, as well as twenty ’10 Favourite Books’ lists, with contributions from Ed Ruscha, Katrina Brown, New Jerseyy, Olivia Plender, Charlotte Cheetham, Hans Ulrich Obrist, Jem Southam, Jeff Eaton, Benjamin Sommerhalder, Lionel Bovier, James Jenkin, OMMU, Marco Kane Braunschweiler, Layla Tweedie-Cullen, Jeremy Millar, Alec Finlay, Fraser Muggeridge, Torpedo Press, An Endless Supply, Axel Wieder.