Related Papers
"Circulating Movement Information in the Sphere of Art: A Report to SQEK in Copenhagen on the 'House Magic' Project" (conference paper, 2011)
Alan W. Moore
Art-Zines, The Self-Publishing Revolution: The Zineopolis Art-Zine Collection
Jackie Batey
Freedom of the Presses: Artists' Books in the Twenty-First Century, ed. Marshall Weber
To Not Forget Twice: Art and Social Change in Artists’ Books from Latin America
2018 •
Florencia San Martín
This chapter maps a genealogy of artists who have created artists' books in hemispheric Latin America from the expansion of Europe in the 16th century across the Atlantic, emphasizing in contemporary artistic practices from the late 1960s to the present.
Chitrolekha Journal on Art and Design
Artist Books and Art Zines: Past and Present
Manmeet Sandhu
The paper is a study of art zines, related ephemera and artist books as well as their historical and conceptual relevance in the study of art. The aim is to look into the precursors and influences to the same and how zines, especially art zine and artists’ books evolved to their contemporary state. Zines are magazine/ books like, though more content-specific, primarily self- published and are produced in limited editions. On the other hand, artists’ books can be self published or gallery/ patron sponsored with limited or sometimes no copies to maintain the exclusivity. The paper will look into similar examples from art history, before the contemporary terms were formulated, in order to understand their origin, conceptual and contextual relevance in the history of visual art.
The Printed Book in Contemporary American Culture
Authorial Impression and Remediation in Anne Carson’s Quasi-Artist’s Book Nox
2019 •
Kiene Brillenburg Wurth
Combining a media studies approach with the theoretical framework of new materialism, Kiene Brillenburg Wurth probes how Anne Carson’s folded book Nox puts its own mediality on display to reflect on the intertwining of its material and symbolic dimensions. Brillenburg Wurth shows that Carson simulates the hand-crafted authenticity of artist’s books through the use of technologies like Xeroxing and scanning, aesthetic methods like scrap booking and collage, and poetics that combine (auto)biographical writing with translation. Tracing the US avant-garde context in which Roland Barthes’s seminal essay “The Death of the Author” was first published, Brillenburg Wurth explores how book fictions and quasi-artist’s books like Carson’s Nox reintroduce a concern with authorship to contemporary literature while continuing to champion avant-garde practices of depersonalization.
Ephemera- Invitation cards, press releases, inserts and other forms of artistic (self-)marketing
Dorothee I Richter
Ephemera not only serve to announce an exhibition but they are also the material evidence of a performance, or the work itself in the sense of conceptual art, their classification becomes unclear, and the categories are blurred. So it is not surprising that institutional art collections have tended to avoid exhibiting such materials until recently. Ephemeral production by artists occurred in the ‘60s and ‘70s—suddenly all formats of exhibition making, of the distribution and production of invitation cards, press releases, inserts, and other forms of artistic (self-)marketing became part of the reorganization of the art field. Ephemera, editions, and invitation cards were seen as specific interesting objects; they did not only offer a space of self-representation, they also made art available to everybody. From its revolutionary beginnings to its acceptance as a new genre, this kind of work is endangered today. Invitation cards are vanishing; they are being replaced by email, Facebook invitations, Twitter, and other fluid digital news. The interviews are contributed by Kunsthalle Zürich on the occasion of the exhibition They Printed It! Invitation cards, press releases, inserts and other forms of artistic (self-)marketing.
PRINT.ed #4
2018 •
Jo Milne
PRINTed es proposa com una fira de petit format dedicada a l’àmbit de les publicacions singulars, entenent com a tals tota mena de treballs d’edició on s’especula al voltant de la idea de llibre en el seu sentit més ampli. L’objectiu és oferir als participants un esdeveniment i un context interdisciplinar, des d’on comunicar-se mútuament i amb el públic, donant alhora sortida, de manera professional, al producte de les especulacions generades de portes endins. Establir ponts i provocar encreuaments i encontres ens enriqueix i genera un teixit d’interessos comuns que s’ha d’expandir a través d’aquests contactes, més enllà del centres de producció. PRINTed es genera des d’un entorn acadèmic, amb la pretensió de generar vincles entre diversos centres educatius d’arreu del món on es desenvolupin activitats formatives relacionades amb la impressió, l’edició i el disseny. També persegueix generar continguts i activar dinàmiques productives i en aquest sentit proposa activitats que poden a...
Camoutopia: Dazzle, Dance, Disrupt
2014 •
Mary Tremonte
Camoutopia examines the ways in which silkscreen printing and social engagement mutually inform one another to create complex experiences and enact social change. Camouflage functions as a visual metaphor for social intersections I am facilitating, through shared interests in queer aesthetics, collective experience, and embodied exchange. In its failure at representing nature, camouflage calls into question what we consider natural, and in the tension between passing and dazzling, acts as a queer aesthetic. The silkscreen printing process, overlapping layers of color, creates areas of pronounced intensity, a lens and framework through which to view things differently. This phenomenon extends to social dynamics; the unanticipated and intense happens in the intersection, what Manning terms engendering, a process of becoming rather than being. I apply a pedagogical approach to print production and social events, after Helguera and Bishop, and draw from Munoz’s theoretical framework of ...
Art Documentation
"Value and Validity of Art Zines as an Art Form."
2009 •
Susan Thomas
Independent DIY publications and the Underground Urban Cultures
2021 •
Paula Guerra
