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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
Sheets from Manders’ Traducing Ruddle form the central element of the artist’s Window with Fake Newspapers project, a site-specific public work on view through March 28th.
Distributed in North America by Textfield, Inc.
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.
Art, Music & Recreation Dept, 2nd Floor
Central Los Angeles Public Library
630 W Fifth St
Los Angeles, CA 90071
Hours: M-Th 10-8, Fri & Sat 10-6, Sun 1-5
Parking available on Flower between 5th and 6th streets
February 19, 2010 – March 20, 2010
23/25 Eastcastle Street
London W1W 8DF
March 12, 2010 – April 24, 2010
1447 Stevenson Street
San Francisco, CA 94103
Jean-Claude Vannier and his orchestra working with Yves Saint-Laurent in the early 70s.
Sandy · 02/16/10January 7 – February 13, 2010
525 West 21st St
New York, NY 10011
Ooga Booga is a concept shop vital to the creative life-blood of Los Angeles. It gathers an eclectic range of products. Spearheaded by Wendy Yao, Ooga Booga fosters a vibrant community of independent producers. For Swiss Institute, Yao installs a lounge in which one may read over 300 titles — from self to professionally published. The room contains contributions by:
Swiss Institute
Ooga Booga Reading Room
1 December — 13 February 2010
Everything, Nothing, Something, Always (Walla!), is a time-based installation that takes the form of a one-act live theatrical play that repeats nine times over a period of three hours. This documentation is a sampling of all nine runs. Filmed during Performa 09 at X initiative on November 11th & 12th 2009. By Emily Mast.
Jonathan · 01/06/10 
Shrouded Monument, 2008, C-print, 48.5 x 40.5 inches
Shannon Ebner, Signal Hill
7 January — 13 February 2010
Altman Siegel Gallery, San Francisco
—Shannon Ebner
James Harris Gallery is pleased to present an exhibition of new work by Amir Zaki. The artist has been working as a photographer for more than fifteen years, showing work from New York to Los Angles to Seattle. This is his fourth solo exhibit at James Harris Gallery. For this exhibition, Zaki shows a series of color-saturated lifeguard towers that have been digitally manipulated to render them more iconic than real.
Zaki’s new work explores structures common to his new locale: lifeguard towers and the Volkswagen Vanagon. The beach-side architectural structures seem to float in the sky, as all access to the towers has been digitally erased. Colors in both the skies and the small buildings themselves have been intensified, adding to sense of the fantastic. Several structures read like military outlooks, all streamlined angularity, while others would not seem out of place at nearby Disneyland. The image of the Vanagon presents this beach mobile as both an emblem of 1960s hippiedom, as well as a smooth-edged visual sculpture. On a biographical note, the two vans represent the vehicle Zaki owned as a younger man, and the replacement he sought out more than a decade later. The two mirrored images look at each other nose to nose, perhaps a portrait of youth staring age in the eye.
Amir Zaki, Relics
Reception: 7 January 2010, 6pm
7 January 2010 — 20 February 2010
James Harris Gallery
312 Second Avenue South
Seattle, WA

Not Equal, 2009, Plywood, wood glue and enamel paint, 13.1 x 17.75 inches
Shannon Ebner
Invisible Language Workshop
30 October — 19 December 2009
Opening Reception: Friday 30 October, 6-8pm
Wallspace
—Shannon Ebner
Two good show openings in LA tonight - Arthur Ou and Alice Könitz (information below this post), and Asher Penn (with a performance by Kayla Guthrie).
November 21 - December 13, 2009
Young Art
1727 N. Spring Street
Los Angeles, 90012
OPENING RECEPTION
Saturday, November 21, 2009
7-10pm
AFTER PARTY @ JED’S
performance by Kayla Guthrie
11pm
443 S. San Pedro St. #402
Los Angeles, 90013
Exhibition poster design by Sandy Yang
Resort, A Station for Display
Arthur Ou and Alice Könitz
November 21, 2009 — January 16, 2010
Reception: Saturday, November 21, 2009, 7-9pm
LAXART
2640 S La Cienega Blvd
Los Angeles CA 90034

Alighiero e Boetti: Mappa
Hand embroidered by Afghani craftswomen and men 1971–1992
On display till January 23, 2010 at Barbara Gladstone, NY
The Studio Museum in Harlem will open the fall/winter season with a major exhibition entitled 30 Seconds off an Inch. This survey will bring together contemporary artworks by a group of artists who, having absorbed the lessons of U.S.-based Conceptual art and identity politics, imbue their respective practices with a critical sense of play and irreverence adopted from Fluxus, Arte Povera, Gutai and Neoconcretism, among other international movements. 30 Seconds takes the singular practices and conceptual methods of black artists active on the West Coast in the late 1960s and early 1970s as a starting point–work that inspired a bodily engagement in conceptual practice.
Presenting approximately one hundred works by dozens of artists, the exhibition will provide an overview of a generation of artists who use a variety of media, including photography, video, large-scale sculpture, figurative painting and site-specific installations. 30 Seconds aims to show how this group of artists engages with the body and race in clever, subtle and astute ways.
30 Seconds off an Inch
Opening: November 11, 7-9 pm
November 12, 2009 — March 14, 2010
The Studio Museum in Harlem
144 West 125th St
New York, NY
EVERYTHING, NOTHING, SOMETHING, ALWAYS (WALLA!)
a project by Emily Mast for Performa 09
548 West 22nd St
New York, NY
Ground Floor
Wednesday, November 11 and Thursday, November 12
stop in anytime between 6–9 pm
FREE
Renwick Gallery is pleased to announce the group show Beyond Process. The exhibition features Lucas Ajemian, Patterson Beckwith, Phil Chang, Samara Golden, Alexander Hoda, George Kontos, Jason Kraus, Megan Marrin, and Lisa Williamson.
Renwick Gallery
45 Renwick St
New York, NY 10013
(212) 609-3535
www.renwickgallery.com
I Feel Different
20 October 2009 — 24 January 2010
Opening reception: Tuesday, 20 October 2009, 8pm
with performances by resident artist Niña Yhared (1814) and James Luna
This provocative project explores both the experience of feeling different from others and the transformational power of art to make one feel differently. Most of the time, we attend museums and galleries with our social armor “up” — approaching art with sophistication, irony, and even a degree of cynicism. This exhibit gathers together artists working in the unusual registers of the sentimental and the sincere — testing the limits of what kinds of emotional expression are possible within art. In doing so, they ask us if tears register as “real” in art (and what happens when they do), what happens when we are asked to take on an artist’s outrage, depression, or pleasure as our own, or how much can an artist can really change how we feel (and if this what we want from them). The show acknowledges that contemporary art is powerfully defined by the relationship between art and the spectator, and asserts that emotion plays a major part in this story.
I Feel Different opens with an evening of moody performance — a reading by Raquel Gutierrez (the text of which is available on the exhibition’s website), and live performances by LACE resident artist Niña Yhared (1814) and James Luna. Niña Yhared will also be performing a special cabaret at Wildness on Oct 13, 2009 (2700 West 7th St., LA 90057).
LACE (Los Angeles Contemporary Exhibitions)
6522 Hollywood Blvd
Los Angeles, CA 90028
Wednesday–Sunday, noon–6pm
Friday, noon–9pm

Lewis Baltz
The Park City Portfolio
26 September 2009 — 2 January 2010
Opening Reception: 26 September, 6-9pm
Thirty years ago, in 1979, as he completed his photographs of a ski resort being built in Park City, Utah, Lewis Baltz was in the middle of the middle of his most productive period. Four years earlier he had finished a series on The New Industrial Parks of Southern California, and four years later he would complete his study of San Quentin Point, a dump site where a notorious prison once stood. He thought of the three projects, he said, as a “trilogy”. Where Ansel Adams, Baltz’s most famous predecessor in the photography of Western vistas, had seen the American landscape as pure Romance, Baltz now saw it as a Tragedy, since that is the art form for which the term trilogy is customarily reserved. The photographs of jimcrack “luxury” housing under construction at the foot of ski trails in Park City show us where the tragic flaw lay in the American character.
Textfield · 09/28/09 
One of the highlights of my short trip to London was this retrospective of Simon Foxton’s styling work, complete with a display of his scrapbooks. The Paul Hetherington-designed catalog is also a treat.
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
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.
Harsh · 08/13/09Emily Mast and Evan Mast, 25 July –
“My brother Evan and i collaborated on an ephemeral piece for Exhibition in New York this past Monday. We filled the space with smoke and light in the middle of the night.”
to challenge traditional notions of artistic and curatorial authorship by setting up a “different”
type of experience for artists and viewers alike. How does it work? EXHIBITION is not set
up as a series of programmed exhibits but functions as a continuous spatial and temporal
unit over a period of 6 months. Invited artists are asked to engage directly with the concrete
situation of the space as they find it. Structurally, every artistic gesture is determined by a
set of agreed-upon parameters: for instance, interventions occur only in areas randomly
assigned by a throw of dice. It is understood by all participants that their intervention
invariably carries the potential of its own demise. And perhaps even more significant than
the material results generated is the continuous flow of immaterial conversation between
contributors and visitors.
Exhibition was initiated by Elena Bajo, Eric Anglès, Jakob Schillinger, Nathalie Anglès and
Warren Neidich.
EXHIBITION
211 Elizabeth Street, New York, NY 10013
Wednesday–Sunday, 12-6pm

Documentation: Danielle Levitt
Second Floor is a private exhibition space started by curator Sarvia Jasso and artist Kathryn Garcia. In part fueled by the economic crisis, Second-Floor was developed as a way to challenge the “white cube” mentality of the market driven NY art-world by providing artists a platform outside of the normal exhibiting structure.
2 May — 14 June 2009
In 1973, Ana Mendieta invited unsuspecting visitors to her apartment. Without having been warned, they witnessed a horrific (albeit confusing) scene: Mendieta was bent over and tied to a table with her underwear at her ankles, blood stains on her legs and broken dishes all over the floor. Protesting the recent attacks against women that were occurring on campus at the University of Iowa, Mendieta’s performance Rape Piece is a poignant reminder that the distinctions between private and public, inside and outside, remain somewhat unclear.
Using this performance as a point of departure, the group exhibition Can’t Rape the Willing not only poses some of the same questions that Mendieta considered but, more deliberately, it diverts by exposing what happens behind closed doors between consenting adults. By challenging rampant taboos about sexual fantasies, intimacy and deviant behavior, the artists in the exhibition are invited to delve into unrestrained—and unapologetic—perverse territory.
Theo Adams
Arlen Austin
Andres Bedoya
Cara Benedetto
Michael Bilsborough
Brendan Carney
Azul Ceballos
Tara DeLong
Chloe Dzubilo
Juan Pablo Echeverri
Kathryn Garcia
Danielle Levitt
Richard Lidinsky
Megan Lindeman
Lovett/Codagnone
Quinn Luke
Hector Madera Gonzalez
Nadja Verena Marcin
Elizabeth Neel
Marc Robinson
Julika Rudelius
Georgia Sagri
Dean Sameshima
Michael Sharkey
Dena Yago
For more information, contact Sarvia Jasso or Kathryn Garcia. After May 2nd, open by appointment only.

Antonio Puleo, One For Me, One For You
Cherry and Martin presents Antonio Adriano Puleo’s exhibition I Am a Bird Now, featuring ecstatic murals, paintings and sculpture that possess a bold fusion of natural history and modern abstraction. This will be the first solo exhibition at the gallery’s new location at 2712 S. La Cienega Blvd.
Antonio Adriano Puleo’s pictorial exploration is a twenty-first century hybrid of art history, including the painterly experimentations of modern abstraction as well as the illustrations of the 19th century American naturalist John James Audubon and Medieval illumination. The third in a series of solo shows by Puleo, I Am a Bird Now, follows up on two previous exhibitions, To This World I Must Give In (2005) and Birds and Beasts (2007). Whereas Puleo’s previous exhibitions furthered a pictorial investigation of the tensions between opposing forces (Birds and Beasts) and the individual’s place amongst these tensions (To This World I Must Give In), Puleo’s new body of work explores the manipulation of these tensions through symmetry, pattern and the hermeticism of alchemy. Inherent in Puleo’s work is the translucent dimension of ecstasy, the idea that revelation can be had through the polarities of perfect geometrical proportions, radiant color and a visceral connection to the material world.
Central to the exhibition and the artist’s concerns are two wall installations, Follow The Light (2009) and They Know Why They’re There (2009). Painting becomes architecture as vibrant bands of color seamlessly emerge from strategically placed, intimate canvases. These small paintings, whose compositions magnify exponentially onto the gallery walls, chart the implicit energy of expansion and contraction.
Cherry and Martin
Tuesday–Saturday 11am-6pm or by appointment
(310) 559-0100




















