Thursday, October 23, 2014

Art Toronto



Art Toronto (previously the Toronto International Art Fair, or TIAF) launches tonight with a Collector's and Opening Night Preview from 4:30 - 10pm. The fair runs from Friday October 24 until Monday October 27 and is held at the Metro Toronto Convention Centre at 255 Front St. West.


Above: Nook, Roula Partheniou, 2014, 3.5' x 3.5', acrylic and gouache on wood and MDF, jar, polymer clay, shelf. At MKG127, booth #908. 



Wednesday, October 22, 2014

Jochen Lempert | Godwits






Jochen Lempert
Godwits
Brussels, Belgium: MOREpublishers, 2014
30 x 80 cm, folded to 30 x 13,3 cm.
Edition of of 40 signed and numbered copies (+ 10 A.P.)

The 37th hors série edition has just been released this week, and is available for 120 €, here.


Tuesday, October 21, 2014

Rosemary Mayer (1943–2014)



Sculptor, writer and co-publisher of 0 to 9 magazine, Rosemary Mayer has passed away. The periodical was made in collaboration with her sister Bernadette Mayer, and her then-husband Vito Acconci. From 1967 to 1969, the three produced the mimeographed publication that featured contributions from Robert Barry, Clark Coolidge, John Giorno, Dan Graham, Sol LeWitt, Jackson Mac Low, Harry Mathews, Adrian Piper, Bern Porter, Yvonne Rainer, Jerome Rothenberg, Aram Saroyan, Robert Smithson, Alan Sondheim, Hannah Weiner, Emmett Williams, and many others.


"Vito and I created 0 To 9 as an environment for our own work, which did not seem to exist anywhere else.

We based the name of the magazine after Jasper Johns’ work 0 Through 9. The publishing of 0 To 9 also bypassed the sagas of trying to get work, including one’s first book, published by an established press. We found a mimeograph machine in my boyfriend Ed Bowes’ father’s office in New Jersey. We had to buy paper, stencils and ink from the A.B. Dick company. For each issue we drove there with the typed stencils when the office closed at 5pm, and by the time they reopened at 8 am, we would have an issue of 0 To 9 run off and collated. Friends would help us, including my sister Rosemary Mayer. It was an accidentally ecologically sound thing to do.

In the first issue, Vito published a poem of his, “Kay Price and Stella Pajunas”, who were the winners of a typing contest. We published a lot of anonymous work by American Indians, as well as Edoardo Sanguineti, Bruce Marcu, Hans Christian Andersen, Novalis, Robert Viscusi, Morton Feldman, Gertrude Stein, Raymond Queneau, Aram Saroyan, Ron Padgett, Stefan Themerson, Clark Coolidge, Robert Greene, Ted Berrigan, Harry Mathews, John Giorno, Steve Paxton, Emmett Williams, Lord Herbert of Cherbury, Jackson Mac Low, Dick Higgins, Bern Porter, Sol LeWitt, Hannah Weiner, Dan Graham, George Bowering, John Perreault, Philip Corner, Rosemary Mayer, Jerome Rothenberg, Robert Smithson, Yvonne Rainer, Les Levine, Adrian Piper, Eduardo Costa, Kenneth Koch, Jasper Johns, Alan Sondheim, Lee Lozanno, Lawrence Weiner, Bernar Venet, Robert Barry, Douglas Heubler, Karen Prups-Hvarre, Larry Fagin, Nels Richardson and others. So you can perhaps see in what direction we were going.

The pages of 0 To 9 looked more like maps than literature and sometimes were maps or directions; for example, the Seneca song from Number 5 by Richard Johnny John and Jerome Rothenberg. Typing the stencils for the magazine was no mean task. The correction fluid for them made you high in an unpleasant way and the liquid had to dry on the stencil film while it was separated from the padding and backing sheets. You blew on it, having put a pencil between the sheets. Actually, the point was never to make mistakes because it was impossible to get the corrections in the same place as the original.

We’d print between 100 and 350 copies for each issue, taking them around to bookstores in New York City, sending them elsewhere and to our subscribers. Needless to say we didn’t make hordes of money. Nothing was perfect about 0 To 9 in its mimeograph form. We were trying to get far away from the idea, so promulgated, of the perfection of the poem with white space around it, set off from other things. The first cover was a mimeograph stencil — it was dark blue. Next was a rainfall map of the US. The third cover was all the first lines of work in the magazine. For the fourth issue, we wrapped all the book jackets Vito and I had in our possession around the cover. The fifth cover was a crumpled sheet of paper and the sixth was six blank sheets of paper.

Vito and I both had gone to Catholic schools, thus our earnestness and sadomasochism. I don’t think either of us had any less ambition than to change the world. My sister met some of the boys from Regis, where Vito went to high school, and Vito began courting her. He would take here to dinner at the Chateau Henri IV. When they got married, I was the maid of honor. For a time I went out with Vito’s friend Bob Viscusi, now a poet and professor at Brooklyn College. I had grown up in Brooklyn, Ridgewood to be exact, very close to the next trendy section of Brooklyn—Bushwick.

Vito had gone to Holy Cross and then joined the Marines. After that he went to the Iowa Writer’s Workshop with my sister, where they lived in a Quonset hut. My parents had died in their forties, so I moved in with my uncle and grandfather, probably propelled to write poetry by “the people downstairs,” who were my godmother’s son, Richard Nirengarten, his wife and their baby. They had plastic on the furniture and would fight a lot. My uncle, a devout Catholic living in the single state of blessedness, would create a pile of Ave Maria’s (a magazine unlike 0 To 9) so the unread copies were on top. My grandfather was world-weary, stingy and liked yellow pants. He would lock me out of the house at night because “I should’ve done my reading in the daylight.” In high school my sister joined the Ridgewood Saints, a gang that had garrison belts. This was the time of the ’50s and ’60s, so we learned a lot — like how to make art that had no boundaries and to expect that change was possible. After all, Robert Smithson made an upside-down tree."

—Bernadette Mayer, from 0 to 9: The Complete Magazine

Monday, October 20, 2014

Timeline edition

I'm en route to Montreal now, via a wifi-outfitted train, which is considerably more civilized than driving. Unlike every drive or plane ride I've ever taken, I almost wish it were longer. 

A panel discussion in advance of the Montreal Biennale opening happens tonight at 8pm, at the McCord Museum. Curators Gregory Burke, Peggy Gale, Lesley Johnstone and Mark Lanctôt, will be moderated by Executive and Artistic Director Sylvie Fortin. The Benefit Preview is tomorrow night at the Musée d’art contemporain de Montréal, from 7pm. A few tickets remain to the Cocktail reception, which features a 'soundscape' by DJ Xarah Dion. They can be purchased for $150, here

In addition to A Drink To Us [When We're Both Dead], below, I am showing a video work called Timeline at the Arsenal. A 45 minute version was shown in 2011 as part of Earl Miller's Queen West section of Nuit Blanche, and last November Eleanor King showed a 60 minute version in Halifax as a part of Nocturne. The current, and presumably final version, is 76 minutes long and is now packaged in an edition of 5, available at MKG127

A foil-stamped linen box houses the film on DVD, on a portable hard drive and also includes a print and the bookwork Alternate 20th Century. An additional bookwork, Alternate Timeline, is included on the drive as an epub. 

For more information, visit my mostly-ready-to-relaunch site, here











16 Pages: Digitally Crafted Chapbooks



Curated by Poetry is Dead magazine founder Daniel Zomparelli, 16 Pages is a series of sixteen-page digital chapbooks that can be viewed using a smartphone or tablet.

Chicken Scratch by Robert Swereda
The Cosmic Bend by Craig Dodman
Exi[s]t by Isa Lausas
I Don't Need This Anymore by Trystan Carter and
Noise and Silence by Christine Walde

can be downloaded for free from the Poetry is Dead site, here.


Sunday, October 19, 2014

Yoko Ono | Infinite Universe At Dawn




Yoko Ono's Infinite Universe At Dawn is currently being bound in Italy, and will begin shipping next month. The book is billed as "her first curated selection of her seminal art and activism across eight decades", which both ignores previous monographs such as Yes Yoko Ono and suggests the book will include activism works from Ono's childhood, but the 340 page leather-bound book certainly seems extravagant. Housed in a leather and buckram slipcase, the title features tipped in postcards, trace pages, a piece of the sky puzzle piece and a mirrored 'Smile' card. The cover features a die-cut 'Hole To See The Sky'.

I'm also unclear how many different editions exist, as the site refers to a limited edition (they're all limited, to 1500 copies), an 'intricate edition' and a 'collector edition' (only 1,150 books numbered 351 to 1,500). I'm not sure if these are all different, as the ordering page doesn't specify, and the only price listed is £325.00 ($524 US, $591 CDN).

The title can be pre-ordered now, at www.YokoBook.com.

"It is more like a conceptual sculpture than a book."

- Yoko Ono