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cross currents bookworks from the edge of the pazific
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58 S., 28x22 cm, 2 Stück. keine weiteren Angaben vorhanden
Spiralbindung, verschiedene Papiere, einzelne Farbabbildungen hinzugefügt
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Katalog zu einer Ausstellung von Künstlerbüchern im College of Creative Studies der University of California in Santa Barbara, 13.11.-21.12.1990, und in der California State University Hayward, 02.-25.10.1991, und in der Selby Gallery in der Ringling School of Art an Design in Sarasota Florida, 23.02.-28.03.1992, mit zusätzlichen Arbeiten ab 1992 aus Neuseeland und Australien
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Getting Inside Simon Morris Head
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324 S., 19,8x12,8 cm, Auflage: 500, ISBN/ISSN 978-1-907468216
Softcover, Taschenbuch
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Getting Inside Simon Morris’ Head is a performative retyping of Simon Morris’ conceptual bookwork Getting Inside Jack Kerouac’s Head. Like Morris’ original performance of retyping the scroll edition of Jack Kerouac’s On the Road, Joe Hale’s project first appeared as a blog. At the rate of one page per day, like Morris retyping Kerouac before him, Hale retyped Morris’ entire book and in doing so re-retraces Kerouac’s famous adventure. Morris gave us all of Kerouac’s pages in reverse order: each blog post presented one page and the default settings of the blog platform organised his posts in reverse order, from the newest to the oldest. Now inverted again, as a double negative, Hale has restored the direction of travel to the story and produced a wholly (un)original new text. This first printed edition takes the imitative gesture to a new extreme. It features an introductory essay by poet Kenneth Goldsmith and reuses Morris’ paratext. From the cover design to the choice of paper, Hale tests the limits of conceptual extension.
Text von der Webseite
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Getting Inside Jack Kerouac's Head
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324 S., 19,8x12,8 cm, Auflage: 500, signiert, ISBN/ISSN 978-1-907468025
Softcover, Taschenbuch
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Morris’ new bookwork, Getting Inside Jack Kerouac’s Head, is a performative retyping of the recently published original scroll edition of Jack Kerouac’s beat classic, On the Road. Morris’ project first appeared as an ongoing journey through the book, read and re-typed on a WordPress blog one page per day. This newly published codex version pours the content of that performative retyping back into the format of the paperback source book. It follows the default logic of a blog archive to put the last post, page at the start and stores the rest of the entries in reverse order. In other words, whereas Kerouac traveled from the East coast to the West coast, Morris crosses America from West to East.
Text von der Webseite
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176 S., 19,7x12,8 cm, Auflage: 500, ISBN/ISSN 978-1-907468032
Broschur
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The Perverse Library is the latest poetic bookwork from scholar, critic, and iam co-editor Craig Dworkin. The book comprises of a bibliography of Dworkin’s book shelves at home, a supplementary bibliography of absent and imagined books, and an accompanying essay arguing that libraries are in fact defined not by what they contain, but by what books they exclude or fail to include. The essay also investigates the histories of libraries, makes a theoretical argument about the relation of canons to architectural space, and explores the psychology of collecting — including the pathology of bibliomania.
Text von der Webseite
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SIX HANDS AND A CHEESE SANDWICH
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[20] S., 18x14 cm, Auflage: 3.000, ISBN/ISSN 978-3-868740080
Drahtheftung
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Ruscha der Fischotter aka: Printed Matter And Other Visible Things On Paper Not Necessarily Meant To Be Viewed As After Ruscha aka: One Hundred Views Of One Hundred Views Of Mount Fuji, If Someone Says So aka: SIX HANDS AND A CHEESE SANDWICH is a book about books, a catalogue and an art/bookwork in its own right.
Content: By now the appropriation and paraphrasing of Ed Ruscha constitutes a genre of its own. The first were 1968 Bruce Nauman with 'Burning Small Fires' and 1971 'Ed Ruscha' (actually Joel Fisher) with 'Six Hands and a Cheese Sandwich', with further appropriations or hommages over the decades, and in the last years it almost became fashionable, the evidence is massive.
Text von der Webseite
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Have you been Duchamp'd? parts 1, 2 and 3
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[58] S., 29,1x23,3 cm, Auflage: 100, signiert, keine weiteren Angaben vorhanden
29 Blätter in Karton, aufgeklebter Titel, Niete, Stempel, Bindfadenverschluss
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Meditating on language and symbol, Sutherlands three-part bookwork evolves from a predominant use of text over image to the reverse. (e-artexte)
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[80] S., 29,1x23,3 cm, Auflage: 100, signiert, keine weiteren Angaben vorhanden
40 Blätter in Karton, aufgeklebter Titel, Niete, Stempel, Bindfadenverschluss
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Within a 36 frame grid, each leaf in Sutherlands bookwork contains text referencing the fractured, illusionary, repetitious nature of cinema. (e-artexte)
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[84] S., 42x29,7 cm, Auflage: 600, ISBN/ISSN 9789081287425
Softcover, fadengeheftet, diverse Papiere, Seiten teils ausgestanzt.
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Hamano's dense, layered bookwork collects her drawings, photographs and mirrored texts in a playful, associative manner. Made for the artist's solo exhibition at Sieboldhuis in 2009, Leiden, the poetic narratives of text and image are inspired by two fishing villages in Japan and the Netherlands. A colourful, nuanced and fresh world of imaginaire.
Text von der Website.
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10,5x14,8 cm, keine weiteren Angaben vorhanden
Karte
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Postkarte, von Teilnehmern auszufüllen, zum Projekt Books are Bridges, 11.03.-11.05.2021 bei A-Z, Berlin, Torstr.
How can we still find ways to connect with each other? Can books play a role in this connection? And from where to where can they take us? For the show in A — Z presents, I’ve come up with a strategy to bring people and ideas together. A participative, open, non-ending work that could exist in the space, but that couldn’t exist without a form of contact. A book that will construct itself throughout the duration of the show. The thickness, amount of pages, and content won’t depend on me but on the public. A book that functions as a bridge that connects people, ideas, ways of distribution and collaboration. The answers that are sent back to us before the end of the show, will be arranged into a growing bookwork inside of the exhibition space. Books are Bridges. Always under construction.
Text von der Webseite
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