"Dear Friends and Colleagues,
I regret to announce that Printed Matter's 2018 LA Art Book Fair has been cancelled due to the unavailability of The Geffen Contemporary at MOCA, the Fair's venue of the last five years, and the tragic and unexpected passing of our friend and Fair Curator Shannon Michael Cane.
Over the years, the LA Art Book Fair has grown to become one of the art publishing world's largest gatherings—a community-driven celebration of innovation and creativity, as well as a rich educational forum for engaging with all facets of art book publishing. We are greatly disappointed that we are unable to mount the Fair in 2018.
The LA Art Book Fair will definitely return in 2019 with renewed energy. Thank you for your understanding and support, and we hope to see you at our NY Art Book Fair at MoMA PS1 in the fall.
Tuesday, December 12, 2017
Jonathan Monk is always surprising. Somehow combining strategies of appropriation with those of conceptual art. The work is also affectionate. He loves Sol Lewitt. Turns out he also loves African fabrics, his house and studio being no stranger to the strong colours and patterns of this wax resist cloth. The fact that Franz West used it, as does Yinka Shonibare is not a problem. Quite the opposite. Originality is another thing Monk gently undermines. Besides, they are beautiful.
Monk has produced two very interesting works with "Three Star Press". The first is a small edition book of 24 fabric samples on which are screened Lewitt isometric drawings of geometric forms. The second is an edition of large monoprints on the same fabrics of groupings of Lewitt 's isometric drawings. A few copies of each remain available from Three Star Press.
Wax resist cloth has an extraordinary story which Monk is tapping in to. Grossly oversimplified : Dutch traders found they could sell Indonesian batik in west Africa. Then Dutch fabric makers decided to make the cloth for sale in Africa, skipping Indonesia, appropriating the look of batik. African traders started making the cloth themselves, resembling and adding to the bold colours and patterns of its origins. More recently Chinese manufacturers have actively copied African designs and manufacturers labels using industrial printing methods, selling the cloth to the African diaspora in places like Paris. Monk found his many times appropriated fabric in Paris.
John Cook is an architect in practice and teacher of Architecture at Carleton University. He occasionally plays hookey at lunchtime to visit the National Gallery's extraordinary collection of artist books and multiples. He has been interested in multiples and works which were intended to circulate outside galleries since childhood. More recently Dave Dyment convinced him that includes books.
Monday, December 11, 2017
Floriography, or the language behind flowers, dates back to Victorian times. Certain varieties, their colours, or the manner in which they are arranged send silent, coded messages. Similar to the wearing of particular clothes or logos to convey to others, without language, loyalty to bands, political parties or teams.
Karen Azoulay’s YES/NO/MAYBE Scarf, created in collaboration with M-82, employs the form of the knitted soccer scarf along with the coded messages of flowers. Instead of revealing the wearer’s favourite team, the arrangement of the scarf wordlessly broadcasts their frame of mind: the red carnation means YES, the yellow NO, and the striped flower MAYBE. Produced in an edition of 25 for $100, it’s the perfect edition for those who prefer subliminal messages to speech.
December 2017 saw the return of Art Metropole’s popular Gifts by Artists event. United under the title Every. Day. Objects., the exhibition and sale is comprised of editions from 29 artists. Beth Stuart’s Macaroni Necklace is an elegant, geometric pendant from afar revealed closer up to be a macaroni noodle cast in sterling silver, strung on a chain. This playful, tongue-in-cheek piece of jewelry evokes grade school crafts made threading pasta shapes on string.
The necklace, in an unsigned, unnumbered edition of 19 (with one artist proof) is accompanied by a text by the artist and available through Art Metropole for $85.
Wendy Gomoll is an archivist with a background in photography, and the co-publisher of Paul + Wendy Projects, which publishes artists' books, editions and multiples.
Sunday, December 10, 2017
Saturday, December 9, 2017
Handmade lipstick in found bullet casings
9mm or .45 caliber
Everyone I know is getting Lipstick Bullets in their stockings this year - Cindy Baker’s artist edition of handmade lipsticks in found bullet casings, with a choice of 9mm or .45 caliber and available in 21 shades of pink, red, blue, green and purple.
Cindy Baker began collecting lipsticks and bullets, interested in their visual similarity, yet representing opposite ends of the gender socialization spectrum. In further research, she found that the histories of lipsticks and bullets were more entwined that she ever could have imagined:
“Lipstick factories making bullets. Bullet factories making lipsticks. Factories that produce both lipsticks and bullets which shift during the war to producing only bullets. Factories that produce bullets during the war which shift to producing lipsticks after the war. People pretending to make lipsticks in order to covertly make bullets. Lipstick tubes recycled into bullet casings. Lipstick sold wrapped in paper to save brass for bullet casings. Used bullet casings saved during the war for makeshift lipstick cases. Unused bullet casings factory-crimped into lipstick cases. Bullet factory workers encouraged to wear lipstick. Free lipstick provided by cosmetics companies to bullet factory workers. Creation of demand for lipstick by newly-out-in-the-workforce women. Creation of demand for lipstick by women whose men have returned home and taken over their jobs. Bullet-shaped lipstick swivel tubes. Lipstick-shaped bullets.”
Lipstick Bullets represent an opportunity to put a bullet to your lips while considering their complicated history.
Michelle Schultz is the Director of dc3 Art Projects in Edmonton, Canada and the newly-founded Bookshop, a shop within the gallery dedicated to visual arts publications. Bookshop focuses on national and international artist books, magazines and editions, and hosts book launches, readings and events.
Friday, December 8, 2017
Toronto, Canada: Self-published, 2017
3.5 cm x 1 cm 0.5 cm.
The head of a Roosevelt Dime (Franklin) and body of Canadian Mountie, both cut directly from coins are merged for this hand made pin.
Available for $200 at the Untitled Art Fair in Miami this weekend, from MKG127 (booth E12), alongside several of other Adam's wearable works.
Milan/Viareggio, Italy: Archivio Vincenzo Agnetti/Edizioni Cinquemarzo, 2017
188 pp., 14 x 20 cm., softcover
New Edition of 200
Edited by Giuseppe Calandriello and Daniele Poletti, this new edition features the original cover artwork by Enrico Castellani, and essays by Germana Agnetti, Cecilia Bello Minciacchi, and Bruno Corà. The new edition also includes the text by Corrado Costa, Guida del viaggiatore immobile.
Available for € 20.00.
Milan, Italy: Vanni Scheiwiller, 1968
177 pp., 18 x 12,5 cm., softcover
Edition of 1000 numbered copies
In conjunction with the book, Scheiwiller published Guida del viaggiatore immobile. A proposito di Obsoleto, romanzo di Vincenzo Agnetti, by Corrado Costa, Milano, 1968, 14 pp., 21 x 21 cm., excerpt from «Malebolge», n. 5, Edition of 500 numbered.
«In 1968 [Agnetti] inaugurated Scheiwiller’s “Denarratori” series with his novel Obsoleto (Obsolete). The cover is by Enrico Castellani, almost sealing the intellectual and project-related partnership at the basis of Azimuth. Obsoleto has its roots in the years from 1963 to 1967 and aims to recover what had fallen into disuse and disappeared: in this sense it acts as a link between the two key phases of his life. What is more, the circular path of the narrative, the frequent use of purely graphic solutions, and the illegible pages at the end due to the filing of the lead composition by the artist himself, mark the start of reflection on language that goes beyond criticism and epistemology to enter the realm of art in a strictly conceptual sense. Just as it is impossible to separate Agnetti’s life from his artistic production from this point on, so it would also be contrived to distinguish between Agnetti the writer, Agnetti the painter, Agnetti the sculptor and Agnetti the critic. We are now faced with the “man and artist”, about whom Agnetti wrote in 1967 (Intorno alla [Around], in the book on Piero Manzoni published by Scheiwiller), where the different dimensions of criticism and artistic creativity merge to form an extraordinary singularity.» – excerpt from When I Saw Myself I wasn't There, A biography of Vincenzo Agnetti, by Germana Agnetti, Archivio Vincenzo Agnetti (http://www.vincenzoagnetti.com/abiography.html)
http://www.diaforia.org (Series of the new edition)
https://www.facebook.com/Diaforia-157773254268728/ (Series of the new edition)
http://www.cinquemarzo.com (Publisher of the new edition)
http://www.vincenzoagnetti.com (Archivio Vincenzo Agnetti)
http://www.fondazioneenricocastellani.it (Fondazione Enrico Castellani)
http://panizzi.comune.re.it/Sezione.jsp?idSezione=563 (Archivio Corrado Costa – Biblioteca Panizzi)
Robert Rebotti is a graphic designer with an intense interest in gnoseology, philosophy and history of science, epistemology and relational design practices. Visit his website here and his tumblr page here.