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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.
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.
Textfield · 03/02/10 
Softcover, 96 pp., offset 2/1, 140 x 230 mm
Edition of 1000
ISBN 978-0-9562605-1-2
Published by Occasional Papers
A collection of essays on book design by Catherine de Smet, James Goggin Jenni Eneqvist, Roland Früh, Corina Neuenschwander, Sarah Gottlieb, Richard Hollis, Chrissie Charlton, Armand Mevis.
Distributed in North America by Textfield, Inc.
This was in my top 3 of last year, right next to “Letter to Robin Kinross” and “Siedlung”. Thanks, Jonas.
Harsh · 01/22/10 
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
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
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.
The theme of the nineth issue of Here and There is HER LIFE. It deals with the various factors that make up the many waves in a woman’s life, such as working, becoming pregnant, giving birth. The colorful stories told by Elein Fleiss, Laetitia Bena, Yurie Nagashima, Miranda July, Midori Araki and Aiko Yamada, reflect each of their lives.
Nakako Hayashi, Here and There 9
Softcover, 56 pp., offset 4/duotone, 210 x 297 mm
Edition of 1000
ISBN 978-3-905714-69-2
Published by Nieves
Distributed in North America by Textfield, Inc.
032c 18, Thomas Demand
Softcover, 272 pp. + Thomas Demand dossier, offset 4/1, 20 x 27 cm
Edition of 2000
Published by 032c
Distributed in the United States 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.
“That’s part of my problem with writing around graphic design: it uses such grand, revolutionary, pompous rhetoric, and in most cases they just don’t fit the subject matter. I guess it’s because that sort of rhetoric—ideologies, systems, strategies, which seems to ape the language of war and social change—comes from a particular sort of art or architecture writing. When it gets filtered to graphic design, which is mostly everyday and ephemeral, it just doesn’t fit right. I find it a bit embarrassing That’s why most design writing feels like self-justification, which is just dull.”
Harsh · 10/24/09Two 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.
Harsh · 10/07/09
2009 MFA Graduate Exhibition and Catalog Release
September 15th to September 25th
Reception: Thursday, September 17th, 6-9 p.m.
Catalogs, root beer, and ice cream
USC Gayle and Ed Roski MFA Gallery
3001 S Flower St
Los Angeles CA 90007
http://roski.usc.edu/mfa
Keith Bormuth,
Christian Cummings,
Michael Hayden,
Lee Lynch,
Emily Mast,
Nicole Miller,
Dianna Molzan,
Michael Parker
organized by Jonathan Maghen
2009 MFA Catalog made possible through the generous support of:
Hunk and Moo Anderson, The Harry W. and Mary M. Anderson Charitable Foundation,
Richard and Lynnie Dewey, Putter Pence, Anne Cohen
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
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.
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.
Old interview I didn’t see, he is heading up a new line for A Bathing Ape called Ursus. Drawing by Skate Thing.
Harsh · 07/14/09
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.