Mark Manders, Traducing Ruddle
Newspaper, 16 pp., web offset 1/1, 350 x 480 mm
Insert, 48 pp., offset 1/1, 215 x 280 mm
Edition of 3000
ISBN 978-0-9738133-7-1
Published by Fillip Editions, Roma Publications

above: 1:1 scale, Waste Bookmark

Jonathan Maghen, Waste Bookmark
Bookmark, offset 1/0, 2 x 5.5 inches
Edition of 11 + 2 proofs, unnumbered
Published by Textfield

Card used by Pressman to indicate any waste, errors, bad sheets, etc., on a printed job to the Bindery; typically made from the waste sheets of other printed jobs. Re-reused as a bookmark; part of an unfinished book, used to bookmark the pages of a finished book.

mosaicism.org by Daniel Ingroff, 4 March — 1 April 2010

Reception on Thursday, March 4th from 6-7:30pm at the library

A work inspired by photographs and paraphernalia taken from the Art department’s “picture files” — a unique collection of newspapers, magazine clippings and ephemera collected by librarians prior to the advent of the Internet. Made up of three distinct parts: a website, video and display, mosaicism.org investigates both digital and analogue forms of the “picture” by framing some of the aesthetic and emotional assumptions associated with these binaries.

New York Times obit.

I have a soft spot for Vignelli design. It’s a bit Republican, sure, but, of the few distinctly American super firms, they feel like a lesser evil. This PDF booklet “describes the basic rules” of their work.

If anything, it’s a good primer on the bare basics of modernist-classical graphic design (start reading at page 34).

Slavs and Tatars & Ooga Booga present the west coast debut of Kidnapping Mountains. Featuring a selection and sale of Slavs and Tatars posters, editions, and printed matter.

Ooga Booga
943 N Broadway #203
Los Angeles CA 90012
14 January — 7 February 2010

Bookshop now open — email your order (or order online) and receive 15% off all books, catalogs, editions, magazines, monographs, multiples, and videos, between November 24, 2009 and January 1, 2010. All orders placed by December 11th, will be delivered by December 24th. Orders placed online will receive a 15% refund. Happy Holidays!

Publishers
032c, A&R Press, Bas Morsch, Book Works, Capricious, Charlie White, Christoph Keller Editions, C Magazine, Coins, David Kordansky Gallery, Fillip, FormContent, Four Corners Books, Glen Cummings, Adam Michaels, Harsh Patel, Hassla Books, Hunter and Cook, Hypen Press, JRP|Ringier, Kunst Halle Sankt Gallen, Laura Bartlett Gallery, Laura Palmer Foundation, Manuel Raeder, Mono.Kultur, Museum Paper, Nieves, OK-RM, onestar press, Paperback, Paper Monument, Passenger Books, Peres Projects, Seems, Primary Information, Semiotexte, Slavs and Tatars, Steidl, Textfield, The Power Plant,Tramnesia, True True True, Turner, Vier5, Walker Art Center, Wallspace, Walther König, Wear, and more.

Keith Bormuth, The Occasion of Fracture
Softcover, 28 pp., offset 1/1, 160 x 240 mm
Edition of 500
Published by Keith Bormuth

Ryan Waller is a designer and publisher based in Brooklyn. He graduated from Rhode Island School of Design in 2003, from Yale School of Art in 2009, worked at Mother in between, and has been a visiting faculty member at Pratt Institute. He made a zine of graffiti-based logos photoshopped onto images of brick walls and it’s in the Whitney Museum of American Art Library.

Laura Palmer Foundation, Stadium X — A Place That Never Was offers a selection of texts presenting a multi-faceted picture of that site’s deterioration and its existence as a ‘city within a city’ and also documents the series of live art projects. The Stadium and its parasites functions, which are now being erased form the map of Warsaw will likely become some distant planet, while the present publication, with the brilliant contributions from its authors, will attain — perhaps — the status of an unreal story about a place that, after all, never was.

The art world is now both socially professional and professionally social. Curators visit artists’ studios; collectors, dealers, and journalists assemble for a reception and reconvene later for dinner; everyone goes to parties. We exchange introductions and small talk; art is bought and sold; careers (and friendships) brighten or fade. In each situation, certain behaviors are expected while others are silently discouraged. Sometimes, what’s appropriate in the real world would be catastrophic in the art world, and vice versa.

Making these distinctions on the spot can be nerve-wracking and disastrous. So we asked ourselves: What is the place of etiquette in art? How do social mores establish our communities, mediate our critical discussions, and frame our experience of art? If we were to transcribe these unspoken laws, what would they look like? What happens when the rules are broken? Since we didn’t have all the answers, we politely asked our friends for some help.

Two projects that fit loosely into a larger idea of supporting ideas that work quietly and locally.

I have a few projects from this Porto-based label via trades with my friend Isabel (who produced the work above, from BF10/Wanda II). BdF’s website is pretty clear and concise as to aims and background information, so there’s not much else to say here other than this is one of my favorite imprints.

I met Maki Hakui in NYC at this years Art Book Fair, and her magazine School was the only title I ended up shelling out cash for. I support her mission to avoid discussing the usual aspects and figures of Japanese art culture, and going straight to intimate, direct dialogues with its lesser exposed – but equally interesting – women creatives.

“I think most Purple Fashion readers are new readers, if you can call them readers, I think they’re part of these people that go through magazines, look at them but don’t really read. I’m doing a magazine to avoid this way of looking at magazines. If you glance through Purple Journal and now Les Cahiers Purple, if you don’t enter in it, like in a book, take the time, then you don’t get anything from it. It’s not about visual excitement. A story like the one of Purple certainly never happened before. Olivier Zahm and I starting a magazine together in 1992, worked together for 12 years and went in such different directions that we decided to split. But we both feel “Purple” is us so we keep this name.”

Interviewed by Juan Moralejo for his new project, Foco.

Elein Fleiss projects via Textfield.

Textfield, Inc. is an independent publisher and distributor of artists books, catalogs, editions, monographs, multiples, and periodicals. We specialize in the distribution of quality publications from publishers in North America and Europe, to libraries, bookshops, galleries, and museums.

The focus of our publishing catalog involves the development of close working relationships with artists, galleries, museums, universities, and institutions to design and publish books and other printed matter.

Publishers: 032c, Capricious, Christoph Keller Editions, C Magazine, Coins, David Kordansky Gallery, Fillip, FormContent, Harsh Patel, Hassla Books, I-20 Gallery, Kunst Halle Sankt Gallen, Laura Bartlett Gallery, Manuel Raeder, Mono.Kultur, Museum Paper, Nieves, OK-RM, onestar press, Paperback, Peres Projects, Seems, Slavs and Tatars, Textfield, True True True, Vier5, Wallspace, Wear.

MISS READ
International publishers and artist/authors show their Artist Books
September 4 to 6, 2009
KW Institute for Contemporary Art
Auguststrasse 69 D-10117 Berlin

Opening: Friday, September 4, 2009, 3–7pm
Saturday, September 5 + Sunday, September 6, 2009, noon–7pm

2nd Cannons Publications, Los Angeles | argobooks, Berlin | BAS/Bent, Istanbul | basso magazin, Berlin | Book Works, London | Christoph Keller Editions bei JRP|Ringier, Zurich | Dexter Sinister, New York | documentation céline duval, Houlgate | Edition Patrick Frey, Zurich | GAGARIN, Antwerp | Half Letter Press/Temporary Services, Chicago |information as material, York | MER. Paper Kunsthalle, Ghent | Michalis Pichler, Berlin | onestar press/Three Star Books, Paris | P.A.R.A.S.I.T.E. Institute, Ljubljana |Passenger Books, Berlin/Montreal | Pork Salad Press, Copenhagen | Printed Matter, Inc., New York | Roma Publications, Amsterdam | Salon Verlag, Cologne |Schlebrügge.Editor/Fama & Fortune Bulletin, Vienna | Spector Books, Leipzig | Sternberg Press, Berlin/New York | Torpedo Press, Oslo | Verlag der Buchhandlung Walther König, Cologne | ZINE’S MATE, Tokyo

Besides having too many different definitions from one design circle to the next, typography is a discipline in which too many designers purport expertise. Schmid is one figure I consider a true master: his control and use of type goes beyond simply being able to choose and arrange letterforms.

Stewart Brand: “This six-part, three-hour, BBC TV series aired in 1997. I presented and co-wrote the series; it was directed by James Muncie, with music by Brian Eno. The series was based on my 1994 book, HOW BUILDINGS LEARN: What Happens After They’re Built. The book is still selling well and is used as a text in some college courses. Most of the 27 reviews on Amazon treat it as a book about system and software design, which tells me that architects are not as alert as computer people. But I knew that; that’s part of why I wrote the book. Anybody is welcome to use anything from this series in any way they like. Please don’t bug me with requests for permission. Hack away. Do credit the BBC, who put considerable time and talent into the project. Historic note: this was one of the first television productions made entirely in digital— shot digital, edited digital. The project wound up with not enough money, so digital was the workaround. The camera was so small that we seldom had to ask permission to shoot; everybody thought we were tourists. No film or sound crew. Everything technical on site was done by editors, writers, directors. That’s why the sound is a little sketchy, but there’s also some direct perception in the filming that is unusual.”

Allan Kaprow, How to Make a Happening, Audio CD, 24:43 Minutes

New book by J.K Birksted on MIT Press.
Perfect beach reading. From the catalogue:

“Through exhaustive research that challenges long-held beliefs, J. K. Birksted’s Le Corbusier and the Occult traces the structure of Le Corbusier’s brand of modernist spatial and architectural ideas based on startling new documents in hitherto undiscovered family and local archives. Le Corbusier and the Occult thus answers the conundrum set by Reyner Banham (Birksted’s predecessor at the Bartlett School of Architecture) who, fifty years ago, wrote that Le Corbusier’s book Towards a New Architecture “was to prove to be one of the most influential, widely read and least understood of all the architectural writings of the twentieth century.”

More here.

Way Shape Form is Matthew Boyd and River Jukes-Hudson in Toronto.