Artistsg BOOKS: News and Reviews
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Daly, Timothy Michael (2016) Towards a fugitive press: materiality and the printed photograph in artists’ books. Doctoral thesis (PhD), Manchester Metropolitan University. Downloaded from: https://e-space.mmu.ac.uk/617237/ Usage rights: Creative Commons: Attribution-Noncommercial-No Deriva- tive Works 4.0 Please cite the published version https://e-space.mmu.ac.uk Towards a fugitive press: materiality and the printed photograph in artists’ books Tim Daly PhD 2016 Towards a fugitive press: materiality and the printed photograph in artists’ books Tim Daly A thesis submitted in partial fulfilment of the requirements of the Manchester Metropolitan University for the degree of Doctor of Philosophy MIRIAD Manchester Metropolitan University June 2016 Contents a. Abstract 1 b. Research question 3 c. Field 5 d. Aims and objectives 31 e. Literature review 33 f. Methodology 93 g. Practice 101 h. Further research 207 i. Contribution to knowledge 217 j. Conclusion 220 k. Index of practice conclusions 225 l. References 229 m. Bibliography 244 n. Research outputs 247 o. Appendix - published research 249 Tim Daly Speke (1987) Silver-gelatin prints in folio A. Abstract The aim of my research is to demonstrate how a practice of hand made books based on the materiality of the photographic print and photo-reprography, could engage with notions of touch in the digital age. We take for granted that most artists’ books are made from paper using lithography and bound in the codex form, yet this technology has served neither producer nor reader well. As Hayles (2002:22) observed: We are not generally accustomed to thinking about the book as a material metaphor, but in fact it is an artifact whose physical properties and historical usage structure our interactions with it in ways obvious and subtle. -
Annual Report 2013-2014
The Museum of Fine Arts, Houston Arts, Fine of Museum The μ˙ μ˙ μ˙ The Museum of Fine Arts, Houston annual report 2013–2014 THE MUSEUM OF FINE ARTS, HOUSTON, WARMLY THANKS THE 1,183 DOCENTS, VOLUNTEERS, AND MEMBERS OF THE MUSEUM’S GUILD FOR THEIR EXTRAORDINARY DEDICATION AND COMMITMENT. ANNUAL REPORT ANNUAL 2013–2014 Cover: GIUSEPPE PENONE Italian, born 1947 Albero folgorato (Thunderstuck Tree), 2012 Bronze with gold leaf 433 1/16 x 96 3/4 x 79 in. (1100 x 245.7 x 200.7 cm) Museum purchase funded by the Caroline Wiess Law Accessions Endowment Fund 2014.728 While arboreal imagery has dominated Giuseppe Penone’s sculptures across his career, monumental bronzes of storm- blasted trees have only recently appeared as major themes in his work. Albero folgorato (Thunderstuck Tree), 2012, is the culmination of this series. Cast in bronze from a willow that had been struck by lightning, it both captures a moment in time and stands fixed as a profoundly evocative and timeless monument. ALG Opposite: LYONEL FEININGER American, 1871–1956 Self-Portrait, 1915 Oil on canvas 39 1/2 x 31 1/2 in. (100.3 x 80 cm) Museum purchase funded by the Caroline Wiess Law Accessions Endowment Fund 2014.756 Lyonel Feininger’s 1915 self-portrait unites the psychological urgency of German Expressionism with the formal structures of Cubism to reveal the artist’s profound isolation as a man in self-imposed exile, an American of German descent, who found himself an alien enemy living in Germany at the outbreak of World War I. -
S a N F R a N C I S C O a R T S Q U a R T E R L Y I S S U E
SFAQ free Tom Marioni Betti-Sue Hertz, YBCA Jamie Alexander, Park Life Wattis Institute - Yerba Buena Center for the Arts - Berkeley Art Museum/Pacific Film Archive - Tom Marioni - Gallery 16 - Park Life - Collectors Corner: Dr. Robert H. Shimshak, Rimma Boshernitsan, Jessica Silverman, Charles Linder - Recology Artist in Residence Program - SF Sunset Report Part 1 - BOOOOOOOM.com - Flop Box Zine Reviews - February, March, April 2011 Event Calendar- Artist Resource Guide - Bay Area, Los Angeles, New York, Portand, Seattle, Vancouver Space Listings - West Coast Residency Listings SAN FRANCISCO ARTS QUARTERLY ISSUE.4 -PULHY[PUZ[HSSH[PVU +LSP]LY`WHJRPUNHUKJYH[PUN :LJ\YLJSPTH[LJVU[YVSSLKZ[VYHNL +VTLZ[PJHUKPU[LYUH[PVUHSZOPWWPUNZLY]PJLZ *VSSLJ[PVUZTHUHNLTLU[ connect art international (T) ^^^JVUULJ[HY[PU[SJVT *VU]LUPLU[:HU-YHUJPZJVSVJH[PVUZLY]PUN5VY[OLYU*HSPMVYUPH JVSSLJ[VYZNHSSLYPLZT\ZL\TZKLZPNULYZJVYWVYH[PVUZHUKHY[PZ[Z 3IGNUPFOROURE NEWSLETTERATWWWFLAXARTCOM ,IKEUSON&ACEBOOK &OLLOWUSON4WITTER 3IGNUPFOROURE NEWSLETTERATWWWFLAXARTCOM ,IKEUSON&ACEBOOK &OLLOWUSON4WITTER 1B copy.pdf 1 1/7/11 9:18 PM 3IGNUPFOROURE NEWSLETTERATWWWFLAXARTCOM ,IKEUSON&ACEBOOK &OLLOWUSON4WITTER C M Y CM MY CY CMY K JANUARY 21-FEBRUARY 28 AMY ELLINGSON, SHAUN O’DELL, INEZ STORER, STEFAN KIRKEBY. MARCH 4-APRIL 30 DEBORAH OROPALLO MAY 6-JUNE 30 TUCKER NICHOLS SoFF_SFAQ:Layout 1 12/21/10 7:03 PM Page 1 Anno Domini Gallery Art Ark Art Glass Center of San Jose Higher Fire Clayspace & Gallery KALEID Gallery MACLA/Movimiento de Arte y Cultura Latino Americana Phantom Galleries San Jose Jazz Society at Eulipia San Jose Museum of Quilts & Textiles SLG Art Boutiki & Gallery WORKS San José Caffé Trieste Dowtown Yoga Shala Good Karma Cafe METRO Photo Exhibit Psycho Donuts South First Billiards & Lounge 7pm - 11pm free & open to the public! Visit www.SouthFirstFridays.com for full schedule. -
Dear Reader. Don't Read
1 Guy Schraenen Ulises Carrión Dear reader. Don’t read. The revolution engendered by access to knowledge on the Internet brings to the fore certain artistic projects of the past that seem to resonate with the present, as a kind of wake-up call or an invitation to reflect. This is the case, for instance, of the heterodox, multiform oeuvre of the artist, writer, and publisher Ulises Carrión. Right from its title, the exhibition Dear reader. Don’t read raises a paradox in the form of a negative imperative: it reminds us of the need to approach written text, literature, and hence culture as an ambiguous and contra- dictory field full of latent meanings that may perhaps even surface through their negation. The exhibition, which takes the thought-provoking form of a large exhibited—or “published”—archive, inquires into what a museum can contain, beyond traditional formats. It also explores what an art institution can do in the sense of giving voice to groups of thoughts that have been hidden by the veil of time and by the material complexity of the media in which they are expressed. The Ulises Carrión exhibition and publication are presented at a time when both the Museo Reina Sofía and its foundation are paying close attention to archives, particularly those related to Latin America’s cultural scene. Due to their very nature, these groups of units of knowledge are at risk of disappearing, either literally in the physical sense or by succumbing to oblivion and neglect, to the point where they can no longer be read or interpreted. -
Intersections, Boundaries and Passages
Keith Dietrich INTERSECTIONS, BOUNDARIES AND PASSAGES: TRANSGRESSING THE CODEX October 2011 Keith Dietrich was born in Johannesburg in 1950 and studied graphic design at Stellenbosch University, where he graduated with a BA degree in Visual Arts in 1974. Between 1975 and 1977 he studied painting at the National Higher Institute for Fine Arts in Antwerp, Belgium. He obtained his MA in Fine Arts (cum laude) in 1983 and his D Litt et Phil in Art History in 1993, both at the University of South Africa (Unisa). He has lectured at the University of Pretoria and Unisa, and is currently INTRODUCTION Chair of the Department of Visual Arts at Stellenbosch University. He has participated in over thirty community interaction projects in southern Africa and has received a number of awards, in South Africa and abroad, for both his creative and his academic work. He has participated in group exhibitions and biennials in Belgium, Botswana, Chile, Egypt, Germany, Italy, Namibia, the Netherlands, South Africa, Spain, Sweden, Switzerland, the United Kingdom and the USA, and has held 20 solo exhibitions in South Africa. His work is represented in 34 corporate and public collections in South Africa and abroad. 1 Intersections, Boundaries and Passages: Transgressing the Codex Inaugural lecture presented on 4 October 2011 Prof. K.H. Dietrich Department of Visual Arts Faculty of Arts and Social Sciences Editor: SU Language Centre Design: Keith Dietrich Printing: Sunprint ISBN: 978-0-7972-1335-7 2 Given that the convention of an inaugural lecture Artists’ books lie at the intersection of disciplines in excludes art practice, I decided to present an inaugural ex- both the visual arts and literature, and include poetry, prose, hibition. -
Bios of Arts Professionals for Panelist Pool FY 2014/15 Regina Almaguer
Bios of Arts Professionals for Panelist Pool FY 2014/15 Regina Almaguer Regina Almaguer heads a Public Art Consulting Service based in Orinda, California. She has worked on numerous public art projects for the San Francisco Arts Commission, Bay Area Rapid Transit, and other City agencies. She has over 20 years’ experience in public art planning, project management, contract administration and producing public art ordinances and program guidelines. She has extensive experience in working with government agencies as well as private developers and architects on complex projects. She has specialized experience and interest in art in transit programs. Michael Arcega Michael Arcega is an interdisciplinary artist working primarily in sculpture and installation. Though visual, his art revolves largely around language. Directly informed by Historic events, material significance, and the format of jokes, his subject matter deals with sociopolitical circumstances where power relations are unbalanced. As a naturalized American, there is a geographic dimension to Michael’s investigation of cultural markers. These markers are embedded in objects, food, architecture, visual lexicons, and vernacular languages. For instance, vernacular Tagalog, is infused with Spanish and English words, lending itself to verbal mutation. This malleability result in wordplay and jokes that transform words like Persuading to First wedding, Tenacious to Tennis Shoes, Devastation to The Bus Station, and Masturbation to Mass Starvation. His practice draws from the sensibility -
Leonardo Electronic Almanac Volume 4, No
/ ____ / / /\ / /-- /__\ /______/____ / \ ============================================================= Leonardo Electronic Almanac Volume 4, No. 6 June 1996 Craig Harris, Executive Editor Roger Malina, Editor Editorial Advisory Board Roy Ascott, Michael Naimark, Simon Penny, Greg Garvey, Joan Truckenbrod ISSN #1071-4391 ============================================================= ____________ | | | CONTENTS | |____________| INTRODUCTION < This issue > Craig Harris PROFILES < Johannes Birringer and AlienNation Co. > Johannes Birringer < Ron Rocco - Two Works on the World-Wide-Web > Ron Rocco LEONARDO DIGITAL REVIEWS Roger Malina et al < Book Review: The Body and the Self edited by Jose Luis Bermudez, Anthony Marcel, and Naomi Eilan > Rudolf Arnheim < Book Review: Movement, Structure and the Work of Santiago Calatrava, by Alexander Tzonis and Liane Lefaivre > Josh Firebaugh < Article Review: The Neurobiology of Kinetic Art, by S. Zeki and M. Lamb > Roger Malina < Book Review: HEALTH AND HAPPINESS in 20th-Century Avant-Garde Art, by Donald Kuspit and Lynn Gamwell > Sonya Rapoport < Reviewer’s Bio: Josh Firebaugh > < Editors_ Note: WWW access > ANNOUNCEMENTS < Prizes, Statement of the Jury - First International Music Software Competition > < IRCAM New Multimedia Library > < SONIC CIRCUITS IV, International Festival of Electronic Music > ACKNOWLEDGEMENTS LEA WORLD WIDE WEB AND FTP ACCESS LEA PUBLISHING & SUBSCRIPTION INFORMATION 1 LEONARDOELECTRONICALMANAC VOL 4 NO 6 ISSN 1071-4391 ISBN 978-0-9833571-0-0 ============================================================= ________________ | | | INTRODUCTION | |________________| < This issue > Craig Harris This issue presents profiles of work by Johannes Birringer and by Ron Rocco. Johannes Birringer presents background about several performance works, and a dossier about his performance troupe AlienNation Co. Birringer’s web site provides additional information about this group of diverse creators and performers. Ron Rocco presents a web version of his work “The Horizon is Nothing More than the Limit of Our Sight”. -
Proquest Dissertations
The Practice of Community: Assembling Anglophone Poetics in the Post-World War II Era STEPHEN VOYCE A dissertation submitted to the Faculty of Graduate Studies in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY Graduate Programme in English York University Toronto, Ontario September 2009 Library and Archives Bibliotheque et 1*1 Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A 0N4 Ottawa ON K1A 0N4 Canada Canada Your file Votre refinance ISBN: 978-0-494-54112-8 Our file Notre reference ISBN: 978-0-494-54112-8 NOTICE: AVIS: The author has granted a non L'auteur a accorde une licence non exclusive exclusive license allowing Library and permettant a la Bibliotheque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par I'lnternet, preter, telecommunication or on the Internet, distribuer et vendre des theses partout dans le loan, distribute and sell theses monde, a des fins commerciales ou autres, sur worldwide, for commercial or non support microforme, papier, electronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in this et des droits moraux qui protege cette these. Ni thesis. Neither the thesis nor la these ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent etre imprimes ou autrement printed or otherwise reproduced reproduits sans son autorisation. -
Paracanonic Activities
PARACANONIC ACTIVITIES: A PRAGMATICS AND A POETICS by DONATO FRANÇOIS WILLIAM MANCINI BA, University of Victoria (History in Art), 1999 MA, Simon Fraser University (English Literature), 2008 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY in THE FACULTY OF GRADUATE AND POSTDOCTORAL STUDIES (English) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) April 2016 © Donato François William Mancini, 2016 Abstract Overview: This dissertation proposes that certain texts, positioned para-canonically at ambiguous thresholds of valuation, insistently infract on what Roland Barthes would term the “mythologies” of literary canons. While functioning as paracanonic, texts are anti-emblems of privileged aesthetic certainty, metonymic of the wide range of exclusions (literary and historical) that are the actual social cost of canonic value. Rooted in Dialogism (the Marxist “philosophy of language” of the Bakhtin circle) and materialist assumptions about literary value as a contingent social process and function, Paracanonic Activities draws extensively on findings in current linguistics research centred on of the production, reception and interpretation of speech. This area of empirical inquiry extends, substantiates, and often vindicates, concepts that remain notional in Dialogism; together they provide productive means (concepts and concrete findings) for a fresh investigation into the conditions of literary discourse and the social production of aesthetic value. Method, Outline and Primary Texts: Chapter One: Introduction revisits canon debates since the 1960s, to trace the contour of canon mythology. It then brings forward a pair of contrasting paracanonic case-histories – William Shakespeare’s Titus Andronicus and Aimé Césaire’s Soleil cou coupé – to inventory some of the necessary-but-insufficient conditions (including social- historical contexts and textual features) that contribute to a text’s positioning as paracanonic. -
Artists' Books : a Critical Anthology and Sourcebook
Anno 1778 PHILLIPS ACADEMY OLIVER-WENDELL-HOLMES % LI B R ARY 3 #...A _ 3 i^per ampUcm ^ -A ag alticrxi ' JZ ^ # # # # >%> * j Gift of Mark Rudkin Artists' Books: A Critical Anthology and Sourcebook ARTISTS’ A Critical Anthology Edited by Joan Lyons Gibbs M. Smith, Inc. Peregrine Smith Books BOOKS and Sourcebook in association with Visual Studies Workshop Press n Grateful acknowledgement is made to the publications in which the following essays first appeared: “Book Art,” by Richard Kostelanetz, reprinted, revised from Wordsand, RfC Editions, 1978; “The New Art of Making Books,” by Ulises Carrion, in Second Thoughts, Amsterdam: VOID Distributors, 1980; “The Artist’s Book Goes Public,” by Lucy R. Lippard, in Art in America 65, no. 1 (January-February 1977); “The Page as Al¬ ternative Space: 1950 to 1969,” by Barbara Moore and Jon Hendricks, in Flue, New York: Franklin Furnace (December 1980), as an adjunct to an exhibition of the same name; “The Book Stripped Bare,” by Susi R. Bloch, in The Book Stripped Bare, Hempstead, New York: The Emily Lowe Gallery and the Hofstra University Library, 1973, catalogue to an exhibition of books from the Arthur Cohen and Elaine Lustig col¬ lection supplemented by the collection of the Hofstra Fine Arts Library. Copyright © Visual Studies Workshop, 1985. All rights reserved. Printed in the United States of America. Except in the case of brief quotations in reviews and critical articles, no part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any information storage and retrieval system, without permission in writing from the publisher. -
BA Project in Fine Art
BA Project in Fine Art Statement and Thesis Joe Keys BA Project in Fine Art – Statement and Thesis Supervisor: Jóhannes Dagsson Iceland Academy of the Arts Department of Fine Art Spring 2021 Notice Joe Keys BA Project in Fine Art – Statement Supervisors of BA Project: Hekla Dögg Jónsdóttir, Ólöf Nordal and Páll Haukur Björnsson Supervisor of Statement: Jóhannes Dagsson Iceland Academy of the Arts Department of Fine Art Spring 2021 This statement is about a 16 ECTS final project for a BA-degree in Fine Art at the Iceland Academy of the Arts. It is not allowed to copy this statement in any way without author’s consent. The installation ‘Notice’ revolves around a playful compromise of ´usefulness´ in found objects. This is something I rely on in my practice; by starting out with used material I establish a beginning place where to play with composition, aesthetics and function. I am looking to accentuate useful aspects of objects, so much so that they gain a new and awkward logic. The wheeled corner table is adjusted to clumsily fit around a column, the notice board is built with a corner, perhaps made for particular size notes or a specific amount of notes. The magazine holders become an object that has to be held by wooden rods coming from the column. These three sculptures were made in reference to each other and speak directly to a place of work, not a specific work environment, just somewhere mundane and empty. The enlarged printed sudoku is unsolved and framed and speaks to this emptiness. -
A Pamphlet for the Serpentine Gallery Manifesto Marathon 2008: 1
MANIFESTO PAMPHLET 18/19.10.2008 A pamphlet for the Serpentine Gallery Manifesto Marathon 2008: 1. The historic avant-gardes of the early 20th century and the neo- avant-gardes in the 1960s and 70s created a time of radical manifestos. 2. We now live in a time that is more atomised and has less cohesive artistic movements. 3. At this moment, there is a reconnection to the manifesto as a document of poetic and political intent. 4. This is a declaration of artistic will and new-found optimism. 5. New modes of publication and production are a means to distribute ideas in the form of texts, documents, and radical pamphlets. 6. This futurological congress presents manifestos for the 21st century. This event is urgent. 1 MANIFESTO PAMPHLET 18/19.10.2008 Gilbert & George (1969) SPONSOR’S FOREWORD In an exciting journey to discover the future of travel and relaunch their brand, Kuoni has partnered with a series of prominent experts from the worlds of contemporary lifestyle, fashion, art, architecture, music and literature. The latest in its ongoing series of collaborations sees Kuoni partner with the Serpentine Gallery, and, from 18 – 19 October, Kuoni is proud to be the headline sponsor of the Serpentine Gallery Manifesto Marathon. Through the sponsorship of the Manifesto Marathon, Kuoni will collect new perspectives on travel and develop these into a ‘new culture of travelling’–a selection of luxury, unique and authentic travel experiences. The Kuoni and Serpentine Gallery relationship is based on a common sense of curiosity and passion for innovation. Moreover, the concept of the Manifesto Marathon closely mirrors the Kuoni Getaway Council –an ever-evolving group of prolific experts and innovative thinkers from different fields, industries and countries– which was set up as a platform for exchanging ideas and finding new ways to innovate in travel.