Today Printed Matter announced the winners of their Emerging Artists Publication Series, each of whom will work with a designer and Printed Matter staff to publish their books in 2017. Recipients are also awarded a prize of $1,500.
Chosen from hundreds of applicants, the winners are:
Federico Pérez Villoro & Christopher Hamamoto - Futura (Reprint)
Gerardo Madera - Name, Thing, Thing: A Primer in Parallel Typographies
Isadora Reisner - Jaguar Group
Philip Iosca - Exquisite Corps
The jury consisted of Printed Matter staff with artist Sara Greenberger Rafferty and Brendan Dugan, the founder of An Art Service, a graphic design and art direction firm. The Emerging Artists Publication Series is supported by the Jerome Foundation and the Andy Warhol Foundation for the Visual Arts.
Descriptions of each of the winning selections from Printed Matter's press release:
Federico Pérez Villoro & Christopher Hamamoto
This book is a reprinting of Futura, the seminal collection of concrete poems edited by Hansjörg Mayer, using a modified inkjet printer. Enhanced with a custom-made 3D printed mechanism (or machine prosthetic) that enables automatic manipulations to the printer’s encoder strip, the book reflects on the elasticity of words within a printed page and explores the relationship between meaning and reproduction techniques.
Federico Pérez Villoro (b. Mexico, 1987) is a New York based artist and designer interested in the critical spaces of design and the sociopolitical implications of communication technologies. He is currently doing work that speculates on notions of identity and language in the post-human era.
Christopher Hamamoto (b. USA, 1984) is a designer, and educator. He is an assistant professor at California College of the Arts, and maintains an independent graphic design practice. He is interested in how automation and algorithms effect social relationships and aesthetics.
Name, Thing, Thing: A Primer in Parallel Typographies
Name, Thing, Thing: A Primer in Parallel Typographies will present an allohistorcial account of 15th century initial capitals and ornamentation by way of Rammellezee’s Gothic Futurist treatise and Leo Lionni’s Parallel Botany.
Gerardo Madera is a graphic designer living and working in New York City. He runs a small print shop called Common Satisfactory Standard and is Triple Canopy’s production associate.
JAGUAR GROUP is an ekphrastic collage of archival materials concerning the jaguar diorama at the American Museum of Natural History. It dances between the gazes of muralist James Perry Wilson, his young protégé, the contemporary museum visitor, and the two taxidermied animals. Biography meets art critique meets love letter meets museum guide meets....
Isadora Reisner (b. 1994) is a writer and artist. She collects and reorganizes data in alternative and sentimental ways.
EXQUISITE CORPS is a book of improvised compositions from deconstructed gay porno magazines. These are not centerfolds. These are the other men. The filler. The forgettable ones ferocious fingers flicked through on the way to the feature. These are the men who never made it into the middle of the magazine. They’re a lovesong to printed matter - a voyeuristic peek into porno and process.
Philip Iosca is an award-winning designer, visual artist and published poet. He has exhibited in California, New York, Oregon, Rhode Island, Washington, and internationally in Holland and Italy. Iosca graduated with honors from Rhode Island School of Design in 2004, with a major in Textiles.
Thursday, October 20, 2016
From what appears to be an auto-translated press release:
"Final closure of the bookstore formats
Montreal, October 20, 2016
The grouping of the centres of artists directed du Québec announces that it puts an end to the activities of the bookstore formats from 29 October next. This library, one of the last-born of independent bookstores, had opened its doors in January 2012 and to meet the needs of a clientele specialized in arts. She was located at 3th floor, 2-22, at the corner of st-Laurent-Ste-Catherine. Like the other independent bookstores, formats didn't realize the profits. The Rcaaq, manager of this project, therefore must put an end to its operations.
The bookstore formats has been in business for nearly five years after it was set up by Jean Lalonde and Patrick Vézina; its current booksellers, Marie-sweet st-Jacques, Danny Gaudreault and Marc Gagnon, had made him a unique place in Montreal And even in Canada thanks to a very professional selection of books always surprising, without compromise and sorted on the shutter. Formats was " the " Library of an entire community of readers, artists and intellectuals and " we were their booksellers ", exclaims Marie-sweet st-Jacques, who wishes to thank its clients " who have always shown interest And Enthusiasm, kindness and (sometimes) of patience ".
The Booksellers of formats if affaireront during the next few weeks to finalize all of the operations. They'll get in touch with each of the consignees, distributors and publishers in business with formats for the termination of contracts and the final payment of monies owed. Before, all publications in bookstore will be put on sale at a great balance of 40 % which will be held from Wednesday, October 26, to Saturday 29 October 2016 in opening hours as usual.
For Information: Bastien Gilbert, at 514 842-3984, ext. 225"
Wednesday, October 19, 2016
A collaboration between the founder of the concrete poetry movement in Brazil, and one of the country's most celebrated composers. Hear the 1975 track here:
A Kickstarter campaign to reprint one of the world's first artists' portfolios is currently at $74 000, or 30% of it's goal, after it's first day. The aim is to raise $249 000 by December 1st.
Designers & Books, the Center for Italian Modern Art in New York (CIMA), and the Museum of Modern and Contemporary Art of Trento and Rovereto, Italy (Mart) are collaborating to publish a facsimile edition of a book by Italian Futurist artist and designer Fortunato Depero.
Dating back to 1927, the monograph is titled Depero Futurista, or “Depero the Futurist,” and more commonly known as The Bolted Book, because of it's unusual binding (predating similar approaches by George Maciunas and Volf Vostell by decades).
With it's bold typographic experimentation and layout, the book is recognized as a landmark avant-garde example of the “book as object.” If sufficient funds are raised, the title will be reprinted for the first time since its original publication 90 years ago.
Oblique Strategies (Fourth Edition)
Santa Monica, USA: Peter Norton Family Christmas Project, 1996
5.5 x 5.5 x 1.5"
Edition size unknown
"My wife and I are active in the world of contemporary art, and some time ago we became embarrassed at the idea of sending out traditional commercial cards at Christmastime when we had so many artists as friends. So we began commissioning original Christmas greetings, which we send out to our closest friends and colleagues.
We'd long had a few copies of the "third again revised" edition of Oblique Strategies and liked it a lot. We were casual friends with Brian Eno, his wife Anthea, and their daughters, so I contacted Brian to see if we could publish a new edition for Christmas 1996.
He quickly agreed and began working at revising the set. The incidental story of that effort you can find scattered through Brian's published diary.
Brian concentrated on two things: First, the usual business of adding, subtracting, and refining the Strategies that has gone on with each previous revision. And second, broadening the focus of the Strategies, so that they were less about music and painting, and more about universal creative challenges.
After some months Brian sent me the results, one hundred and six dilemmas along with notes on others; and he encouraged me to play with them, to do my own revising. I took to that with relish. I pared them down to an even one hundred and polished the way they were expressed: making them more poetic, if I could, and changing the flavor of the words from the British dialect to the American.
But I wanted to do more. To add some special value to this edition. I was struck by Brian's efforts to point them away from music and painting, towards the universal. I picked that up as a theme and decided to make this set more universally accessible, to more than the English-speaking world. After a little research, I discovered that the half- dozen most widely spoken languages, together, were known to more than half of the world's population. (It's interesting to try to guess what these languages are; the mistakes in our guessing tell us a lot about our cultural and geographic myopia. The top half-dozen languages: Mandarin Chinese, English, Hindi, Spanish, Russian and Arabic. Among people I've talked to, most of their missed guesses appear in the second half-dozen: Japanese, French, German, Portuguese, Bengali, and Malay. Score six for Europe, five for Asia -- including two in India; and Malay which almost no Westerner would guess -- and one for Arabia. None for highly balkanized Africa.)
So I set about to make this not only the "fourth again revised edition" (as Brian would put it) but also a "more universal" edition. I hired Berlitz to do the translations, giving them unusual instructions: to be free, lyrical, and poetic; a refreshing change for Berlitz's team, who are accustomed to the dreary work of precisely translating technical manuals and the like.
You don't have to be able to read these translations to see some of the freedom the Berlitz translators exercised: In the Hindi translation some questions became statements and some statements became questions. The one-word strategy "Water" has a one-word translation in everything but Spanish, where it became the evocative "Elementalmente ... Agua".
I expected that my bright idea -- of a "universal" rendering in the most widely spoken languages -- would be the key feature of this edition. But I was mistaken.
Once we had the text of the "fourth again revised and more universal edition" we needed to determine the form. First I thought we would find an exotic material to make the cards out of. In this age where striking new materials appear almost daily, I expected we would find something amazing -- a card stock that was transparent on one side, opaque on the other, or something equally fantastic. But we found nothing suitable.
So we turned to design, per se, to make the form of the cards interesting. One of our artist friends, Pae White, also worked as a graphic designer and we engaged her to give the deck a new form.
And she did.
Following the principles of contemporary design (roughly stated: violate all the classic principles of design) Pae made a deck that was wild, noisy, narcissistic, self- referential, illegible, smart and stupid by turns. And designed a container for the deck of cool, white, marble- like plastic, Dupont Corian, in the shape of an abstract dog bone.
This was a design so high-profile that it called all attention to itself (another contemporary design principle) and left Brian's words and Berlitz's languages in the background. But it was magnificent.
And this became the 1996 "fourth again revised and more universal edition" of the Oblique Strategies."
- Peter Norton to Gregory Taylor, rtqe.net
Oblique Strategies - Canasta Edition
Santa Monica, USA: Peter Norton Family Christmas Project, 2014
box: 9.5 x 12.7 x 2.5 cm., card stack (each): 8.9 x 5.7 x 1.6 cm.
Edition size unknown
Tuesday, October 18, 2016
Untitled (Music Box)
Santa Monica, USA: Peter Norton Family Foundation, 2005
13 x 9.5 x 7 cm.
Edition size unknown
A hinged-lid pine wood music box accompanied by a card that reads: "Each year, Peter Norton commissions a work of art to celebrate the holiday season. This year's edition is by Christian Marclay... For this project, Marclay has composed 'Tinsel' - a seamless melodic loop without beginning or end that incorporates the gradual slowing of the unwinding mechanism - To play with our expectations of the music box..."
Two anagrams of the word Tinsel adorn the box: SILENT on the exterior and LISTEN on the interior (a possible nod to Ken Friedman's Fluxus box Open and Shut Case).
Monday, October 17, 2016
Daniel J. Martinez
Obscene is ?
Santa Monica, USA: Peter Norton family Christmas project, 1990
21 x 18 x 2 cm.
Edition size unknown
Commissioned by the Peter Norton family on the occasion of the AIDS commemorative day without art December 1st, 1990, Obscene is ? consists of two two dozen assorted coloured condoms housed in a clear plastic box printed with political slogans.
Available from the MoMA gift shop for $150 US, here.
Labels: Peter Norton