Showing posts with label Barbara Bloom. Show all posts
Showing posts with label Barbara Bloom. Show all posts

Thursday, May 14, 2026

Barbara Bloom | Lolita Rug








Barbara Bloom
Lolita Rug
New York City, USA: Self-published, 1999.
241.3 x 112.3 cm.
Edition of 10 [+2 AP] numbered copies


A hand-tufted wool rug that depicts a desecrated copy of Volume 2 of the Olympia Press edition of Vladimir Nabokov’s controversial novel Lolita [see below]. 

Bloom had previously made the novel the subject of her work Reading Lolita In The Dark [see earlier post, here]. 

An example of the work sold for $45,000 during the VIP opening of Art Basel’s Paris week last year. It was purchased by Greek shipping magnate Dr. John Koustas, who gifted the piece to his wife, Dimitra, for her name day.









Sunday, January 11, 2026

Barbara Bloom | Weimar. Vergangenheit,...,Zukunft und jetzt?











Weimar. Vergangenheit,...,Zukunft und jetzt?
Weimar, Germany: Stadt Weimar, 1996
21 x 16 x 4 cm
Edition size unknown


Weimar. Past…Future. And now? is a book-like box of chocolates featuring motifs of the German city of Weimar. The individually wrapped chocolates are said to be infested with small bugs. Inside of each wrapped chocolate is a strip of paper with information and images.

In 1937, the Nazis established Buchenwald concentration camp five miles from Weimar's city centre, providing slave labour for local industry, including the Wilhelm-Gustloff-Werk arms factory. The death toll between 1938 and 1945 is estimated to be 56,545. 

 
“Box of chocolates which looks like a book. Designed for the city of Weimar, Germany, uncovering its prickly history.” 
- Barbara Bloom


Thursday, December 4, 2025

Barbara Bloom | A Birthday Party for Everything










Barbara Bloom
A Birthday Party for Everything
New York City, USA: I.C. Editions, 1999
12.1 x 49.1 x 29.6 cm. 
Unlimited Edition


We had a copy of this work when I was at Art Metropole (I think it quickly sold to the AGO) and I couldn’t make heads or tails of it. It seemed like a cheap box of cheap dollar store party items and the gallerist's description does nothing to disabuse me of this notion: 

“Barbara Bloom's A Birthday Party for Everything includes the essential ingredients for a picture-perfect party in a convenient carrying case. 
 
No occasion would be complete without party hats and horns, plates, cups, napkins, and favors including puzzles, frisbees, wooden tops, yo-yos, kaleidoscopes, pinwheels, fans, bubbles, candy, and balloons. The artist makes this party her own and ours by festooning each surface with images ranging from the sub-atomic to the universal, from molecular structures to bodily systems to street maps to cityscapes to world views to the moon.
 
A Birthday Party for Everything is quite simply a celebration of life.”



Tuesday, October 8, 2024

Barbara Bloom | The Titanic










Barbara Bloom
The Titanic
New York City, USA: Jay Gorney Modern Art, n.d.
35.5 x 13 cm. 
Signed and numbered edition of 33


I could find very little information about this work, including the date, but I have to assume that it’s from 1991, when Bloom had an exhibition at Jay Gorney titled The Tip of the Iceberg.

The work consists of a champagne bottle in a wooden box sealed with a label. The bottle features the text: "Subject to 6000 lbs. of pressure per sq. inch, at 12,460 ft. below sea level for 7 years, this bottle still has its cork in place”.



Thursday, September 5, 2024

Barbara Bloom | 
Reading Lolita in the Dark










Barbara Bloom

Reading Lolita in the Dark

Toronto, Canada/Paris, France: Art Metropole/Florence Loewy, 1994

27.5 x 22.2 x 3 cm.
Edition of 24 signed and numbered copies


A black box containing a double-hinged frame and an audio cassette. The framed diptych depicts the first and last page’s of Nabokov’s novel Lolita, and two found photographs. The cassette features David Case reading the beginning and end of the novel
.


"Vladimir Nabokov (1899–1977), the author of Lolita, is one of Barbara Bloom’s (1951– ) favourite writers. Bloom’s work is contained in a black box with a Braille title, and consists of a diptych that juxtaposes montages of appropriated photographs on one side, with copies of the first and last pages of Lolita on the other. An audiotape accompanies the piece, thereby engaging our sense of sound as well as touch and sight. The incongruity of the images, which have been assembled from various identified sources, provokes discomfort and suspicion in the viewer. Bloom uses the structure of Nabokov’s novel, described as a game of intricate enchantment and nightmarish deception, as a metaphor for this uncanny installation. Lolita is written in the first person, in the voice of a European professor, who in his diary records his lust for a young girl. There are many gaps in the narrative; after all, these are the musings of a madman. Bloom reflects the content and style of the story by grouping disparate and disturbing props; we attempt to understand the events in the novel by making connections between the objects and the text."
- National Gallery of Canada Magazine



Wednesday, August 14, 2024

Barbara Bloom | Playboy, Vol. XLI, No. 1






Barbara Bloom
Playboy, Vol. XLI, No. 1 (Braille Edition)
New York City, USA: Self-published, 1994
[120] pp., 28.5 x 20.5 cm., staple-bound
Edition of 10 signed and numbered copies


Mack Mattingly was the first Republican from Georgia to serve in the U.S. Senate since the Reconstruction era, and the first Republican ever to have been elected to the Senate from Georgia by popular vote. He served a single term, from 1981 to 1987. 

During that time he became known for attempting to prevent the publication of Playboy magazine. Not the glossy, colour magazine with nude pictorials and a famous pull-out centrefold, but a lesser known version, for the blind. 

Since July of 1931, the Pratt-Smoot Act dictated that the Library of Congress would provide braille copies of publications with high circulation numbers. This included popular periodicals such as Good Housekeeping, Boy’s Life, National Geographic, Fortune, Better Homes & Gardens, and - eventually - Playboy. 

Playboy first began publishing in 1953, and seventeen years later was eligible for a braille edition, when its circulation was approaching seven million copies a month. It was the first “gentleman’s magazine” to be produced for the visually impaired. It went on to become the sixth most popular publication in the Library’s Braille magazine catalog. 

Printed on heavy stock paper and embossed on both sides, the magazine excluded advertisements, photographs and cartoons. The only ink appeared on the cover, reproducing the title, volume number and Art Paul’s iconic bunny logo. 

Mattingly viewed translating Playboy into braille - at a cost of just over a hundred thousand dollars a year - as a waste of congressional funds. He argued that the magazine promoted illicit sex and promiscuity and that the government should not be subsidizing pornography. This despite the fact that the braille version redacting anything visually pornographic. 

The magazine had a long history of publishing fiction by acclaimed novelists such as Margaret Atwood, Saul Bellow, Ray Bradbury, Arthur C. Clarke, Roald Dahl, Ian Fleming, Ernest Hemingway, Jack Kerouac, Norman Mailer, Gabriel García Márquez, Haruki Murakami, Vladimir Nabokov, Chuck Palahniuk, Gore Vidal and countless others. It also published sprawling long-form interviews with public figures such as artists, athletes, economists, composers, conductors, directors,  playwrights, and politicians. These included Muhammad Ali, Ingmar Bergman, Jimmy Carter, Eldridge Cleaver, Bob Dylan, Martin Luther King Jr., John Lennon & Yoko Ono, Marshall McLuhan, and Malcolm X, amongst others. 

The month after I turned eighteen, Playboy published an interview with John Cleese, which I purchased while bored and staying at my grandmother’s house, well aware of the irony of actually buying the magazine for it’s articles. 

A July 1985 vote in the House of Representatives, secured a 216-to-193 roll call win in favour of abolishing funding. To circumvent cries of censorship, the vote was listed as a reduction in the budget of the Library of Congress, in the exact amount of the price of Playboy’s braille translation. 

Ron Staley, a radio archivist at UCLA who was blind from birth told the Washington Post "He calls it budgeting, but I call it censorship. We, the blind, live under a partial de jure censorship anyway because certain things are just not available to us . . . We feel if Playboy went, it might even happen to other magazines. It seems to me that Playboy is being targeted. If [they] are so interested in cutting budgets, why isn't it across the board?" 

The American Council of the Blind, the Blinded Veterans Association, the American Library Association, joined Playboy Enterprises in a lawsuit calling the ban a violation of the First Amendment and asking for the ban to be overturned.

In an August 1986 ruling, federal district court judge Thomas Hogan agreed, calling the withholding of funds a “back door method” of censorship. The Braille edition resumed publication in January 1987. 

Barbara Bloom produced the above edition by ordering ten copies of the translated magazine and added only the slightest intervention - a return of the centrefold. Her choice called back to the first issue, in 1953, which featured Marilyn Monroe on the cover. Bloom’s centrefold addition featured the famous Eve Arnold impromptu image of Monroe in a bathing suit, reading James Joyce's Ulysses in a Long Island playground.

The movie star was reportedly reading the book in fits and starts - mirroring the way that it was written - and had pulled out a borrowed copy to read while Arnold was setting up her equipment. 

Bloom commented on how "sexy people look reading in libraries. And sad. And beautiful. And fleeting.”








Tuesday, July 11, 2023

Barbara Bloom











Barbara Bloom turns 72 today. 





Saturday, July 11, 2020

Barbara Bloom | Globe





Barbara Bloom
Globe
New York City, USA: Self-published, 1995
40.6 x 30.5 x 30.5 cm
Edition of 40 signed and numbered copies [+5 AP]


“There was a time when black chalkboard globes were a staple of classroom paraphernalia, and children were expected to be able to draw the outlines of the continents and nations of their world. They are still used in the teaching of physics and astronomy, not to test memorized knowledge, but to demonstrate phenomena that do not stand still: the coriolis effect, polar coordinates, wind and ocean currents.

On Globe the land masses are  fixed with white paint, but political boundaries and names wait to be sketched in, erased, revised to reflect the political counterpart to the coriolis effect.”
- Barbara Bloom

Bloom turns 69 today. 

Thursday, June 18, 2020

Another way to buy books and support BLM causes



From now until Sunday, the Renaissance Society will be donating 100% of the proceeds from book and editions sales to two charities working to bring racial justice to Chicago.

Assata's Daughters and the #LetUsBreathe Collective offer community-oriented programs encompassing education, mutual aid, direct action, and more.

Additionally, the Renaissance Society are also offering 40% off of all stock on their website, as well as free shipping throughout the US. The list includes titles by/about Liz Magor, Raymond Pettibon, William Pope L., Mathias Poledna, Pierre Huyghe, Joëlle Tuerlinckx, Jessica Stockholder, Jennifer Allora & Guillermo Calzadilla, Mark Manders, Barbara Bloom and others.

Use the code June40 when checking out.

https://store.renaissancesociety.org

Tuesday, November 13, 2018

The Complete Works of Barbara Bloom



Barbara Bloom
The Complete Works of Barbara Bloom
Berlin, Germany: Edition Block, 1990
30 x 131.5 x 21 cm.
Edition of 12 signed and numbered copies

For The Reign of Narcissism, Barbara Bloom created a museum devoted to herself, which included Greek-style sculptures, vitrines containing tea sets and chocolates emblazoned with her likeness, a tombstone, and this shelf of 38 gold-embossed books which purport to be her complete works. Bloom described the work as being "less related to Freudian narcissism than it is to the narcissistic aspects of artmaking and collecting.”

Saturday, March 4, 2017

Barbara Bloom | Weimar. Vergangenheit,...,Zukunft und jetzt?






Barbara Bloom
Weimar. Vergangenheit,...,Zukunft und jetzt?
Weimar, Germany: Stadt Weimar, 1996
21 x 16 x 4 cm
Edition size unknown

Weimar. Past…Future. And now? is a book-like box of chocolates featuring motifs of the German city of Weimar. They were initially sold in tourist shops for the improbable price of 20 DM. Inside of each wrapped chocolate is a strip of paper with information and images.



Sunday, January 29, 2017

Barbara Bloom | 
Reading Lolita in the Dark









Barbara Bloom

Reading Lolita in the Dark

Toronto, Canada/Paris, France: Art Metropole/Florence Loewy, 1994

27.5 x 22.2 x 3 cm.
Edition of 24 signed and numbered copies

A black box containing a double-hinged frame and an audio cassette
 (of David Case reading the beginning and end of the novel
).

"Vladimir Nabokov (1899–1977), the author of Lolita, is one of Barbara Bloom’s (1951– ) favourite writers. Bloom’s work is contained in a black box with a Braille title, and consists of a diptych that juxtaposes montages of appropriated photographs on one side, with copies of the first and last pages of Lolita on the other. An audiotape accompanies the piece, thereby engaging our sense of sound as well as touch and sight. The incongruity of the images, which have been assembled from various identified sources, provokes discomfort and suspicion in the viewer. Bloom uses the structure of Nabokov’s novel, described as a game of intricate enchantment and nightmarish deception, as a metaphor for this uncanny installation. Lolita is written in the first person, in the voice of a European professor, who in his diary records his lust for a young girl. There are many gaps in the narrative; after all, these are the musings of a madman. Bloom reflects the content and style of the story by grouping disparate and disturbing props; we attempt to understand the events in the novel by making connections between the objects and the text."