The Blonde Art Books store officially opened on January 25th and we are happy to announce several upcoming events and honors that feature the authors and artists whose publications are currently displayed as new additions in our shop.
Ellie Ga: The Fortunetellers
Friday Feb 1, 7:00 PM
New Museum, 235 Bowery, New York, NY
Tickets $12, $10 for members & students.
January 25 – March 9, 2013
The Book Lovers, A Project about Artist Novels
Curated by David Maroto and Joanna Zielińska
The Elizabeth Foundation for the Arts, 323 West 39th Street 3rd Floor New York NY
With artworks by: Tim Etchells (UK), Tom Gidley (UK), Jill Magid (USA), Roee Rosen (Israel), Lindsay Seers (UK), Goldin+Senneby (Sweden), Alexandre Singh (France), Julia Weist (USA)
With novels by: Carl Andre, Keren Cytter, Salvador Dalí, Tim Etchells, Liam Gillick, Pablo Helguera, Stewart Home, Joseph Kosuth, Yayoi Kusama, Jana Leo, Mai-Thu Perret, Tom McCarthy, Richard Prince, Andy Warhol… to a total of around 130 titles.
The Book Lovers is a systematic attempt to study the phenomenon of artist novels. An investigation of the creative consequences when artists choose the novel as a medium is the core of this long-term project and research. For an increasing number of artists, the novel is becoming a means to generate new art objects in the scope of a multidisciplinary practice. A collection of novels written by artists and a parallel online database are available for public perusal in a Reading Room, together with a selection of artworks that are inextricably linked to some of the novels. The artist novels collection is also on view at M HKA (Museum of Contemporary Art in Antwerp, Belgium –from 6th December 2012 to 21st April 2013) and it has been acquired by the museum to be included in its collection.
Sexy Librarian, 2008
Published by Ellen Lupton/Slush Editions
Softcover; 174 pp, 6 x 9 in.
February 11 – 13 & 18 – 19, 8 – 10pm
“I’m that angel” | NYC Performances & Book Publication
The Google Building, 111 8th Avenue, New York
Seating is limited, so please RSVP to firstname.lastname@example.org
“I’m that angel” is a cycle of writings and performances, in data centers, that explores the contemporary conditions of how we work on and against the computer, narrated from the cognitive cell of one highly neurotic user.
The project addresses the master narratives of technological and socioeconomic progress that have naturalized Web 2.0’s user platforms, as well as the constituents of the digital public that figure into ongoing discussions about the relationship between sincerity and authenticity; realism and reality; the diaristic and the literary; and the author and the individual who takes on, and produces under, that title.
The book component of “I’m that angel” was designed by Eric Nylund and printed this past fall.
The performance component involves readings of the entire book, by actor Justin Sayre, at data centers worldwide. If the book sustains a material limit that belies the diffuse shape of the cloud, then these readings attempt similar concretions by having author, actor and audience occupy a securitized field rarely made available to the public – to occupy, in short, the site where the cloud is kept.
I’m that angel
Book and performance
Softcover, Edition of 500
Solo at Issue Project Room
155 Freeman Street, Greenpoint (Light Industry, Triple Canopy)
Saturday, February 16, 2013
All day until 8pm
Alex Waterman presents a set of new solo works for amplified cello, radios, found sounds, and assorted strings. A rare outing for this renowned performer, the event marks his first solo performance in two years. The evening opens with Cameron Keith Gainer’s Luna del Mar, a short film featuring a soundtrack composed and performed by Waterman.
This catalog was published on the occasion of the group exhibition Between Thought and Sound: Graphic Notation in Contemporary Music, which took place at The Kitchen in the fall of 2007.
Between Thought and Sound was curated by independent curator Alex Waterman and The Kitchen’s Debra Singer and Matthew Lyons. Designed by Will Holder, the catalog includes an introduction by Singer, an essay by Waterman, numerous quotes from the artists, and black and white reproductions of many of the scores from the exhibition. It also features a photo essay prepared by Lyons, highlighting The Kitchen’s historical connection to much of the material in the show.
Creative Time Global Residency 2013
What do war memorials fail to tell us about war?
Vietnam, Afghanistan and other former Soviet states
About the Project
Raskin will travel to Vietnam and Afghanistan and other former Soviet states, where she will study the vestiges of war, adding to her earlier investigations of Cold War narratives. During her travels, Raskin will examine the ways in which the public interacts with memorials through acts of ceremony, bereavement, and tourism; back in the U.S., she will speak with people involved in planning memorials to American soldiers killed in the wars in Iraq and Afghanistan.
February 23, 2012 – April 07, 2012
Exhibition: Shots in the Dark
Churner and Churner Gallery, 205 10th Ave at 22nd Street, New York, NY
“Shots in the Dark” includes work made from 2005 to 2012 and is the artist’s first gallery exhibition in New York in five years.
Lisi Raskin’s fascination with the military-industrial complex has long been central to her artistic practice. For over a decade, Raskin’s work has been moored to a Cold War narrative; in Julia Bryan-Wilson’s words, Raskin “performs, rather than enacts,” research. In 2005, the artist spent a month in Scotland looking for nuclear submarines. Since then, she has traveled to the Arctic Circle, former East German and Yugoslav atomic bunkers, and through the American West while examining remnants of twentieth-century militarism. This on-site investigation has informed the making of drawings, objects, videos, and large, constructed environments that simultaneously quell and stimulate Raskin’s disquieted relationship to technologies spurred on by war.
In “Shots in the Dark” Raskin reevaluates the endgame of her own process, centered until now on large-scale, temporary installations. Over the past year, she has been cultivating an emerging direction in her work: a series of plein air paintings made in industrial Brooklyn. Raskin’s practice, which began as an investigation of bricolage and the possibilities of artwork in a post–9/11 environment, and mutated into an extended, decidedly handmade exploration of the aesthetics of war, has now mutated once again to incorporate and deploy the medium of oil painting. Materially, the oil-on-Belgian-linen works are radically different from Raskin’s previous constructions of balsa wood, foil, cardboard, and construction paper. But shown alongside such objects recovered from previous installations in Athens, Berlin, and Stockholm, it is clear that the paintings retain the artist’s cumulative visual language.
Raskin’s constructions have never been literal reproductions; as the artist has explained, she chose the hand crafted forms of her collages and sculptures in order to “collapse the space of sculpture into a space that would immediately signal fiction to the viewer . . . so that a more prolonged relationship with the object could be possible.” For this exhibition, she has signaled that fiction to an even greater degree by reworking objects from previous installations. Like ceremonial weapons inlaid with precious metals and gold, Raskin’s adaptations – of a pine cone rocket, an 8-foot collaged map of Operation Barbarossa, and a balsa wood TEC-DC9, for example – render them ever further from the real object.
Julia Bryan Wilson, Maria Lind, Lisi Raskin, Risa Puleo, Gabi Scardi
Lisi Raskin – Mobile Observation, 2008
Third Annual Conveyor Exhibition Grant // DEADLINE February 28, 2013
The annual Conveyor Exhibition Grant is presented to an artist whose work exudes compelling new ideas, a well developed concept, and attention to technical detail in a photographic project. We are pleased to invite all artists working in media related to photography to apply. The grant recipient will have their work printed at Conveyor Arts and exhibited in a solo show at United Photo Industries in Brooklyn, New York, in May 2013.
This unique opportunity includes close engagement with the Conveyor Arts community in consultations regarding editing, determining best materials, discussing workflow for archival pigment printing practices, as well as a private printing sessions to produce the show. The grant recipient will also be invited to give an artist talk at United Photo Industries and participate in other programming in connection with the exhibition.
This year’s panel of jurors include Sam Barzilay, Hannah Whitaker, and Andrew Frost.
Click here for more details.
Below from Issue No. 2 // Mapping