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.
Acid – a surf-related publishing project for the curious minded – is the encounter of some skateboarders and the sea. It’s surfing seen through the prisms of exploration and everyday life. In this first issue, editors have navigated along the fringes of art, photography, philosophy or science, trying hard not to sound too serious and making you eager for a session. Featuring thieves, failed surf trips, what marketing people would call ‘stunning images’ plus many more stories and pictures that have nothing to do with jerseys, bikinis or stickers on noses.
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…
Walter Benjamin: Piet Mondrian 63–69 is a video presented in conjunction with Recent Writings by Walter Benjamin, a forthcoming book by New Documents.
In 1986, Walter Benjamin, the influential philosopher and art theoretician, reappeared and delivered this lecture on Piet Mondrian at the Marxist Center in Ljubljana. In this lecture, entitled Mondrian 63, Benjamin presents several works of the abstract artist ranging in date from 1963 to 1996, and questions the theme of original/copy…
The Independent Group met at the original ICA in Dover Street from 1952-5. Celebrated today as the so-called Fathers of Pop, they worked with art, science, technology and popular culture. From horror films to theories of evolution, modern architecture to Marilyn Monroe, this group project worked beyond traditional boundaries and conventional disciplinary areas.
The exhibitions organised by the group were highly innovative, both in terms of layout and the range of objects displayed. The Independent Group shows introduced the new age of modernity and mass culture to the gallery space. Reflecting the Group’s collage mentality, new technology and high end design were juxtaposed with avant-garde art.
The exhibition The Independent Group: Parallel of Art & Life – March 27 – June 9, 2013, Institute of Contemporary Arts, London – will include paintings, drawings and photographs by John McHale, Magda Cordell, Nigel Henderson, Eduardo Paolozzi and Richard Hamilton, alongside related designed objects and ephemera from the Independent Group. Evoking the ICA’s original home in Dover Street in the 1950s, the exhibition will be designed to give viewers a sense of ‘The Home of the Avant Garde’ which first attracted this collection of creative practitioners. In addition, a two day conference will bring together leading researchers, practitioners and curators who are working on aspects of the Independent Group. The aim will be to consider ways in which the Independent Group have been, and continue to be, exhibited.
ALMA GESTES – le 15 Mars, à partir de 19h, Rosa Brux, Bruxelles – rassemble des artistes, designeur-es, théoricien-nes, critiques d’art invité-es à exposer une liste de documents et d’ouvrages issus de leurs bibliothèques personnelles.
Avec Dorothée Baumann, Delphine Bedel, Juliana Borinski, Charlotte Cheetham et Pierre Vanni, Eva Fabbris, Marie Frampier, Jean-Baptiste Ganne, Benjamin Hugard, Pierre Leguillon, Balthazar Lovay, Ceel Mogami de Haas, Nicolas Moulin, Raphaelle Müeller, Florence Ostende, Marie Reinert, Gilles Rotzetter, Fabrice Samyn, Frédéric Wecker.
Tout en évitant l’écueil que peuvent représenter les anthologies constituées de livres de prédilection, chacune des listes explore diverses formes d’énonciations, allant du geste manifeste à la collection monomaniaque, en passant par des agencements dont l’heureux hasard raccommode les thèses les plus antagonistes. Tels des portraits composites, chaque inventaire dresse autant de points de vue sur les pratiques des personnes invitées, autant de discours plurivoques à recomposer.
Dans un geste similaire au principe qui a vu naître ce projet, l’exposition emprunte son titre à la première œuvre littéraire du philosophe français Alain Badiou. Livre qui expose les tribulations de divers personnages embarqués dans une pluralité de mondes possibles à partir desquels ils tentent de construire leur propre langage. Une bibliothèque apparaît comme une promesse qui, au-delà des savoirs réifiés, patiemment glanés et listés, présage avant tout des actions dont on sera dans l’avenir capable.
The Master in Art Direction (MAAD) is part of ECAL/Ecole cantonale d’art de Lausanne in Switzerland. The programme focuses on contemporary editorial practices, it encourages students to create, commission, select and arrange content.
The MAAD motivates and puts emphasis on the work of “editing”: creating a sequence, editing and laying out content, via printed and/or virtual matter. What are the components of an identity of a label, a magazine, a website or an exhibition catalog?
The programme gives the opportunity for students to participate in a diverse range of experiences, from lectures, workshops to semester projects, in which they work with some of the best international experts. The two year programme ends with a master thesis and a practical project. The MAAD calls for curious, dynamic and ambitious students who are eager to explore the fields of photography, graphic design and type design. The online registration is open until 3 May 2013.
Sture Johannesson‘s practice enriches politically-confrontational artistic strategies with experimental graphic design and anti-disciplinary actions aimed at Sweden’s systems of social engineering. Such corrosive methods have led to long periods of isolation and ostracization from the mainstream art world, a history that has made him one of the most legendary and important Swedish artists alive today.
The exhibition Sture Johannesson: In Memery – March 16 to May 25; 2013, Index, Stockholm – focuses on the breaking point that occurred in the late 1960s when Johannesson’s work moved away from the genre of Psychedelic Art and began experimenting with computer-generated graphics.
It was in the framework of psychedelia — a misunderstood artistic movement influenced by the counter-revolutionary and generational turbulences of the period, which suffered from association with hippie clichés — that Johannesson first became interested in digital drawings. Information systems and cybernetics were a logical development of psychedelia’s interest in self-organization, the technology of the drug, and media that proposed forms of artistic production able to ‘turn on’ and ‘off’ within or outside of established institutional frames that seek to ideologically regulate the social body. They worked towards dissolving the hierarchical and behavioral relations of a bureaucratized mass society, contributing to more egalitarian and interdependent relations, which could improve, for instance, the standard of living…
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).
For the fourth year, the 2013 Summer School – set up by schools Werkplaats Typografie & ISIA Urbino – requires students or professionals in the field of design, or art related practices. They are calling for talented, inspiring, non-conventional candidates, with an authentic and critical mind, who don’t mind to work over summer, instead of sunbathing. During the two week workshop students will be guided by Karel Martens, Armand Mevis, Maureen Mooren and Leonardo Sonnoli. They will encourage them to work on a theme in relation to it’s specific context… Application deadline: May 20, 2013.
©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.
The exhibition space P!, New York, will conduct an extended inquiry into the nature and means of copying. Remakes vs knockoffs, transcription vs plagiarism, mimesis vs mimicry — the status of the copied act shifts from positive to negative and back again, depending on context and culture. Multiples of a religious or political icon extend their reach and efficacy, whereas a duplicated file, painting, handbag, or cityscape violates legal and ethical strictures. Questions of capital and power lie at the core: who owns the original vs who is producing the copy.
Offering counterpoints from disparate cultural positions, P! explores the copy through a cycle of events and exhibitions.
Permutation 03.2: Re-Place, from March 8 to April 14, 2013, is the second exhibition of P!’s six-month cycle on copying focuses on replicas, remakes, and recurrences. Margaret Lee’s uncanny storefront display juxtaposes graphic backdrop painting with simulated fruit, while Oliver Laric premieres a new Mandarin version of his distributed video essay, Versions (2009–onward). London-based collective Åbäke captures plaster molds for a Danish/Chinese Pieta in “hacked intaglio”, and Amie Siegel’s Berlin Remake (2005) approaches East German filmic precedents as contemporary scores for reprise and re-performance. The presentation of these disparate works at P! establishes frameworks for considering authenticity and origination across a variety of cultural contexts.
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…
©Joseph Beuys & Ken McMullen: Word Works (1972). Courtesy Ken McMullen / George Brecht: Entrance to Exit (1965). Courtesy Re:voir / Morgan Fisher: The Wilkinson Household Fire Alarm (1973). Courtesy Morgan Fisher / David Gatten: Film for Invisible Ink, case no. 323: ONCE UPON A TIME IN THE WEST (2010). Courtesy David Gatten / Liza Béar: Earthglow (1983). Courtesy Liza Béar
The screening Image, Text, Time: Typography in Artists’ Film and Video – selected by Fraser Muggeridge and Will Rose, during Publish and Be Damned 2013, March 2, Institute of Contemporary Arts, London – brings together artists’ films and videos in which typography plays a central role. The screening will look at how typography has been used to shape new aesthetic relationships between image, text and time, and how viewing moving image might be considered as a process of reading as well as looking.
©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.