- Academia
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- Aliens
- Analog
- Anglophile
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- Best of KTLA
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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
Distributed in North America by Textfield, Inc.
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.
Talk, Screenings, Book Launch and Discussion
Thursday, November 12, 7pm
16 Beaver St, 4th Floor
New York, NY 10004
Free and open to all
Distributed in North America by Textfield, Inc.
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.
Softcover, 56 pp., offset 1/1, 4.25 x 8.5 inches
Edition of 500
ISBN 978-0-9797575-2-5
Published by Paper Monument
Distributed in North America by Textfield, Inc.
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.
Textfield· 09/02/09 
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
Project management at KW Institute for Contemporary Art: Anke Schleper
Tel.: ++49. 030. 24 34 59.93 - Fax: ++49. 030. 24 34 59.99 - Email: as@kw-berlin.de
In early September there are two further events on artistic publishing:
On September 3, 2009, at 7 pm the exhibition KIOSK – Modes of Multiplication will open in the Art Library Staatliche Museen zu Berlin. KIOSK is a travelling and continually expanding archive on the status of independent publishing in the field of contemporary art since the 1990s. This project was founded by Christoph Keller in 2001 and has been hosted by more than 20 international institutions – including KW in 2005. In 2007 the archive was purchased by the Art Library. www.kunstbibliothek-berlin.de
On September 5, 2009, the magazine store Motto will be staging the event UNTER DEM MOTTO. One Day Self Publishing Fair from noon to midnight. Nieves books, Rollo Pressand Motto have brought together 40 independent publishers who will present their publications at Motto and in the neighboring Chert Galerie. www.mottodistribution.com
Mandrake Bar
2692 S La Cienega Blvd
Los Angeles, CA 90034
Wednesday, September 2
7:00–10:00pm
This book was made possible by the generous support of LACMA’s Wallis Annenberg Photography Department, with additional support from LACMA’s Photographic Arts Council.
The * as E//OR was coordinated by Dexter Sinister, New York.
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.”
Sebastian· 08/10/09 
Allan Kaprow, How to Make a Happening, Audio CD, 24:43 Minutes
Seth Siegelaub
Introduction to the Agreement made by Siegelaub in Leonardo, vol. 6, 1973.
1. The Agreement
The three-page Agreement on the following pages has been drafted by Bob Projansky, a New York lawyer, after my extensive discussions and correspondence with over 500 artists, dealers, collectors, museum people, critics and others involved in the day-to-day workings of the international art world.
The Agreement has been designed to remedy some generally acknowledged inequities in the art world, particularly artists’ lack of control over the use of their work and participation in its economics after they no longer own it.
The Agreement form has been written with special awareness of the current ordinary practices and economic realities of the art world particularly its private, cash and informal nature, with careful regard for the interests and motives of all concerned.
It is expected to be the standard form for all transfer and sale of all contemporary art and has been made as fair, simple and useful as possible. It can be used either as presented here or slightly altered to fit your specific situation. If you have questions as regards any part of the agreement, you should consult your attorney.
2. Enforcement
First, let us put this question in perspective: most people will honor the Agreement because most people honor agreements. Those few people who will try to cheat you are likely to be the same kinds who will give you a hard time about signing the Agreement in the first place. Later owners will be more likely to try to cheat you than the first owner, with whom you or your dealer have had some face-to-face contact but there are strong reasons why both first and future owners should fulfill the contract’s terms.
What happens if owner No. 2 sells your work to owner No. 3 and does not send you the transfer form? (He is not sending you the money, either.) Nothing happens. (You do not know about it yet.)
Sooner or later you do find out about it because it takes a lot of effort to conceal such sales and the ‘grapevine’ will get the news to you (or your dealer) anyway. To conceal the sale, owner No. 3 has to conceal the work and he is not going to hide a good and valuable work just to save a little money. And if he ever wants to sell it, repair it, appraise it or authenticate it, he MUST come to you (or your dealer). When you do find out about such a transaction-and you will-you sue owner No. 2, who will owe you 15% of the increase based on the price to owner No. 3 or on the value at the time you find out about it, which may be higher. Clearly, a seller (in this case No. 2) would be extremely foolish to take this chance, to risk having to pay a lot of money, just to save a little money.
As to falsifying values reported to the artist, there will be as much pressure from the new owner to put a falsely high value as from the old owner to put in a low value. There are real difficulties inherent in getting two people to lie in unison, especially if it only benefits one of them-the seller. In 95% of the cases the amount of money to be paid to the artist will not be enough to compel the collectors to lie to you.
You will note that in the event you have to sue to enforce any of your rights under the Agreement, article 19 gives you the right to recover reasonable attorney’s fees in addition to whatever else you may be entitled to.
3. Summation
We realize that this Agreement is essentially unprecedented in the art world and that it just may cause a little rumbling and trembling; on the other hand, the ills it remedies are universally acknowledged to exist and no other practical way has ever been devised to cure them.
Whether or not, you, the artist, use it, is of course up to you; what we have given you is a legal tool that you can use yourself to establish ongoing rights when you transfer your work. This is a substitute for what has existed before-nothing.
We have done this for no recompense, for just the pleasure and challenge of the problem, feeling that should there ever be a questions about artists’ rights in reference to their art, the artist is more right than anyone else.
-Seth Siegelaub, 1973.
The Agreements and the corresponding statement appear courtesy of The Siegelaub Collection & Archives at the Stichting Egress Foundation, Amsterdam.
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.”
Mark· 07/11/09
Book launch & reception
Tuesday, May 26, 2009, 7:00 p.m.
Director’s Roundtable Garden | LACMA
Please join the Wallis Annenberg Photography Department to celebrate the release of the WORDS WITHOUT PICTURES publication, meet some of the authors, and start your own discussions.
Books will be available for purchase at the special discount price of $25 (plus tax).
Mark· 05/22/09 
Inside Motto Berlin, Skalitzerstrasse 68, Im Hinterhof.
“We are proud to announce the European launch of Fillip 9 in partnership with Konst-ig, Stockholm, and Motto Berlin. As part of these transcontinental events, Fillip staff and board members will discuss recent writing and artist projects that situate the publication within the larger landscape of international art criticism. This will also be an opportunity to expand discussions begun during our recent Judgment and Contemporary Art Criticism series presented this past February in collaboration with Artspeak, Vancouver.”
All are invited to attend and participate in these discussions:
Konst-ig, 7 May 18:00
Asögatan 124, Söder District, Stockholm
with Kristina Lee Podesva, Amy Zion,
and Johan Lundh
Berlin Launch
Motto Berlin, 13 May 18:30
Skalitzerstrasse 68 im Hinterhof, Berlin
with Kristina Lee Podesva, Amy Zion,
Markus Miessen, and Antonia Hirsch
About the current issue
In Fillip 9, Diedrich Diedrichsen provides an in depth discussion of Paul Valéry and pop music, and critic Shepherd Steiner considers the Martha Rosler Library project through the lens of the Boolean search. The issue also features conversations between Lea Feinstein and Christian L. Frock on second wave feminism and last year’s proliferation of feminist art shows, and between Boris Groys and Andro Wekua on art practice and production today and in the former East Europe. In addition, Fillip 9 includes an interview with Steve Lambert of the New York Times Special Edition project among exhibition reviews and other texts.
We are very pleased to present a special audio project for the issue, a yellow vinyl 45 by artists Cranfield and Slade, which is included in each copy of the magazine. The edition is produced in collaboration with the Or Gallery, Vancouver, and in support of the artists’ forthcoming album 12 Sun Songs by the Or Gallery, Christoph Keller Editions, and JRP/Ringier.
Konst-ig is the largest independent art bookseller in Scandinavia specializing in books on art, photography, architecture, design, graphic design, fashion, video, performance, theory, and related journals, magazines, artists’ books, and mulitples.
Motto Berlin presents a wide selection of magazines and independent publications ranging from books to zines. The catalogue consists of titles from many different fields such as art, photography, design, architecture, fashion, and many others.
Fillip
305 Cambie Street
Vancouver, British Columbia
V6E 2N4 Canada
604.781.4417
www.fillip.ca
Fillip is distributed in the United States by Textfield or contact your local bookshop.
Printed Matter is pleased to announce a signing with Charlie White for his new publication American Minor, a photographic exploration of the American teen as a fabricated subject and idea. The signing will take place at Printed Matter’s storefront at 195 Tenth Avenue (between 21st and 22nd Street) in New York City.
Aiming for the jugular of the American unconscious, the photographs of Los Angeles-based artist Charlie White inspect the culture’s fictions through staged artifice, reminiscent of, say, Jeff Wall or Gregory Crewdson. American Minor delves into an important and ongoing theme in White’s work–the American teen, and all that goes into its manufacture.
Having approached this theme with an earlier project whose protagonist was a hairy, fragile doll named Joshua, here White tackles the taboos of nascent sexuality in the American teen girl–both the vulnerability of that sexuality as a topic and the ruthlessness with which it is exploited when it goes unexamined. Cataloging studio archives, film stills, animation stills, and scripts, and using images culled from White’s two-year study of one teenager, archives of magazine covers featuring iconic blonde models, stills from his first 35mm film and his photographic comparative study of teens and transgendered people, American Minor presents White’s ongoing and never-before-seen studies of the American teen subject as both image and idea. American Minor is a bold excavation of the sociosexual forces that surround us all.
White’s work has been exhibited internationally in museums such as the Center of Contemporary Art of Salamanca, Salamanca, Spain; ZKM Museum für Neue Kunst, Karlsruhe, Germany; Shanghai Museum of Contemporary Art, China; Hammer Museum, Los Angeles, CA; Oberösterreichisches Landesumuseum, Linz, Austria; Gertrude Contemporary Art Spaces, Melbourne, Australia; Yerba Buena Center for the Arts, San Francisco; the Brooklyn Museum of Art, New York; and ICA Philadelphia, PA. Most recently White was included in Art in America NOW, organized by the Guggenheim and presented at the Shanghai Museum of Contemporary Art. White’s work was included in “The Puppet Show” at the ICA Philadelphia and “The Old Weird America” at Houston Contemporary Art Museum, and is included in “Nine Lives: Visionary Artists in Los Angeles,” curated by Ali Subotnik, now on view at the Hammer Museum in March 2009.
American Minor was edited by Christoph Doswald and Dorothea Strauss and published by JRP/Ringier. The publication is hardcover and 144 pages with 80 color images. It retails for $65 and can be purchased at Printed Matter’s storefront or at www.printedmatter.org. The first 50 books purchased through Printed Matter will come with a limited edition poster signed by the artist from his forthcoming exhibition at the Oslo Kunstforening, Spilling Hot Gossip a selection from The Girl Studies.
via Printed Matter
In Other Words… is distributed in North America by Textfield or contact your local bookshop.
Photograph by Michael Wells
“The Global Game has published a nice story about Municipal de Fútbol (”Where Angelenos do not fear to tread“). There you will also find a podcast interview with Jennifer Doyle by John Turnbull. The post includes extra research he put into the article — especially his inclusion of a link to this June 2008 story in the LA Times about a team of Guatemalen women playing in MacArthur Park. He points out that the spot where those women play is the location for the opening scenes of Goal. We should also remember that this is where the LAPD attacked people participating in an immigrants rights march and rally in May, 2007 (see LAPD tries to crush immigrant rights movement).”
Municipal de Fútbol is distributed by D.A.P.
Textfield· 03/31/09
The artist Shannon Ebner is perhaps best known for her photographic and sculptural works that investigate language and its meaning. Ebner’s The Sun as Error, a book published by the Los Angeles County Museum of Art, coordinated by Dexter Sinister, and distributed by RAM Publishers, will have its New York launch at White Columns on March 6.
We had some meetings and loose conversations starting two years ago. I went into the project with more ideas about what I didn’t want for the book: I didn’t want something that would simply showcase work of mine that had already had a certain amount of exposure; I wanted the book to be more of an open-ended reading of the work. Monographs are great, but I didn’t want something that straightforward.
We met in July of last year and sat around a Los Angeles studio for five days. We bought a roll of fax paper and brought books to the studio that we thought were related to previous conversations we had had over the course of the year, and we just began reading and talking, cutting things out, making photocopies, and taping materials onto the paper—assembling a scroll from the various source materials. Out of this came something like the “guts” of the book. At the end of the day, we would go through the scroll trying to articulate the reasons we had selected certain images, passages, quotes, and diagrams. To my surprise, I ended up with a renewed faith in the images themselves and eventually did away with all the clipped language. My hope was that the ideas that had initially compelled us were embedded in the images—it was just a matter of finding a way to present the material so it would reflect these ideas.
Later that summer, in August, while looking around the photo section of Powell’s Bookstore in Portland, Oregon, I found these amazing practical-photography textbooks that directly related to diagrams I had selected from Ansel Adams’s books and placed on the scroll back in July. Also, Stuart had shown me this beautiful old style manual that got me thinking further about the systems we use for organizing and understanding the arrangement of language and photographic imagery. So by the time I hit Powell’s, although the idea was still vague, I was very curious about looking through these old books with illustrational diagrams and how they might function within a system of hieroglyphics. The book includes a number of these diagrams juxtaposed with my own photographic work. (I didn’t make any new work expressly for the book.) And once I got back to Los Angeles, I would spend hours roaming the various libraries at USC looking through books for diagrams on optics, handwriting analysis, Indian sign language, hypergraphics, optical illusions, and cartography, not to mention all of the diagrams that did not survive the rather rigorous editing process!
I guess the last thing I’ll say here is a bit about the persistent use of the asterisk. It is one of several recurring motifs in the book, but it is probably the most prominent. The origin of this particular asterisk is from an essay by David called “This Stands as a Sketch for the Future,” which he produced as part of a one-year project as a research affiliate at MIT’s Center for Advanced Visual Studies. The essay traces the legacy of the graphic designer Muriel Cooper. Cooper was the first design director of the MIT Press, and she is the person who designed the brilliant MIT Press logo and the Bauhaus book, among other things, of course. She was also a visionary educator, and while at MIT she cofounded the Visible Language Workshop in 1975, which was a teaching and production facility in the School of Architecture. Within David’s essay there is a reproduction of a poster for an MIT fellow’s traveling exhibition, and the asterisk is the graphic symbol that is featured in the poster’s design. You could easily say that I have become obsessed with this graphic symbol, not only because of the beauty of its form but also because it is the symbol for elsewhere. It literally redirects you, and as a reader it continually repositions or reorients you. You could say that Muriel Cooper is the patron saint of this book.
— As told to David Velasco for Artforum
via South Willard
COSMIC WONDER Light Source 3
Light Streams
Launch party for Light Streams, a photo book published by Nieves
Mark Borthwick
Takashi Homma
Henry Roy
Centre Culturel Suisse de Paris
18:00–21:00
Tuesday 10 March 2009
32-38, rue des Francs-Bourgeois 75003 Paris
Textfield· 03/03/09
Wear 2008, the journal of Elaine W. Ho/Homeshop, Beijing is now available.
Wear is a new independent artist-run publication from Beijing. In part a documentation of a series of public activities, discussions and interventions organised at HomeShop space during the 2008 Olympic Games, the first issue of Wear also serves as a broader platform to invite other artists, writers and contributors to reflect upon — from the point of view of a small alleyway in the centre of Beijing — a spectacular everyday amidst broader contemporary urban sociopolitics.
Wear is distributed in North America by Textfield or contact your local bookshop.
Textfield· 03/01/09 
Paperback (London), issue 2 out now!
Paperback is now distributed in North America by Textfield or contact your local bookshop.
Textfield· 02/18/09 
The Distribution to Underserved Communities Library Program (DUC) distributes books on contemporary art and culture free of charge to rural and inner-city libraries, schools and alternative reading centers nationwide.
The program aims to actively further a more egalitarian access to contemporary art, and is committed to fostering partnerships between publishers, non-profit organizations, librarians and readers to enrich and diversify library collections. The program offers well over 490 titles by more than 90 different publishers. The program reaches readers in all 50 states and has placed over 200,000 free books in public libraries, schools, and alternative pedagogical venues.
The DUC is a program of Art Resources Transfer, Inc., a non profit organization founded in 1987, that is committed to documenting and supporting artists’ voices and work, and making these voices accessible to the broadest possible audience.
Textfield Distribution is proud to announce its participation in the DUC Program.
Textfield· 02/02/09 
“As a part of the ART LA Saturday Programming series, I’ll be reading from Municipal de Fútbol on 1/24 at 1pm on a panel with my collaborators — at the Ruskin Theater, which is located across the street from the Barker Hangar in Santa Monica.”
— Jennifer Doyle
A slide show, reading and panel discussion exploring the different sides of Municipal de Fútbol: photography, writing, art, and design will take place. Municipal de Fútbol celebrates what is arguably Los Angeles’s largest subculture, the world of those playing in the myriad of soccer leagues across the city, far below the radar of sports media. A project initiated by designer Jonathan Maghen, Municipal de Fútbol was inspired by the pick-up and amateur soccer games played in the densest parts of east and south Los Angeles. Centered on Michael Wells’ photographs of weekend and night games played on dusty fields and in urban parks across the city, Municipal de Fútbol explores the possibilities of “Fútbol Angelino”. Jennifer Doyle will present contributions to the project, and talk about the collaboration of design, photography and critic and this inspired marriage of art and sport.
Textfield· 01/16/09 
The International Institute of Social History (Dutch: Internationaal Instituut voor Sociale Geschiedenis, abbreviation: IISG) is a historical research institute in Amsterdam. It was founded in 1935 by Nicolaas Posthumus. The IISG is part of the Royal Netherlands Academy of Arts and Sciences.
Tiffany· 01/08/09
Lawrence Weiner, Seven Hills of Rome, 2008
Quid Pro Quo
21 November 2008 — 17 January 2009
Via Francesco Crispi 16
00187 Rome
Tue-Sat 10:30-7 and by appointment
Thanks Ryan
In an art world vernacular, Darren Bader joins the pointed yet poetic, museumoligical interventions of Christopher D’Arcangelo to the cheesy, rank diaristic meditations of Dieter Roth. Punster and prankster, the demon spawn of Julia Child and David Markson, in a less highfalutin patois, he’s about the only guy I know who one-ups Don Novello’s great Lazlo Toth letters by signing his own name. Taking (so-called) institutional critique apart brick by gold-sanctioned brick, he’s critiquing the world and partying at the same time—Tom Cruise and NASA, stand warned. It’s about time someone tapped Al Qaeda as an aesthetic.
Darren Bader
James Earl Scones
Rivington Arms/David Kordansky Gallery
2005, 8 x 9″ 1st printing, edition of 1000 signed/numbered. 96 pages.
Excerpts here.
Tiffany· 12/15/08