Artists’ Books

HANDBOOK: Supporting Queer and Trans Students in Art and Design Education


Edited by Anthea Black and Shamina Chherawala


HANDBOOK: Supporting Queer and Trans Students in Art and Design Education is the first student-authored resource book of its kind. It offers faculty a radical rethink on how to work with queer and transgender students on their path to becoming artists and designers – from the first day of school through to seminars, studio classes, and critiques. HANDBOOK draws directly from student experiences to help faculty of all orientations bring equitable teaching practices and queer curricula into art and design classes.


HANDBOOK is a collaborative intervention in art and design pedagogy. Queer Publishing Project was a working group of over 100 students, alumni, staff and faculty at OCAD University and beyond who identify as queer and/or transgender.


Handbook: Supporting Queer and Trans Students in Art and Design Education
$20 CDN, first edition 2018, out of print
Publisher: OCAD University and Queer Publishing Project
Distribution: Art Metropole
ISBN: 978-1-77252-006-4


Editors: Anthea Black and Shamina Chherawala
Graphic Design: Cecilia Berkovic
Production: Nick Shick
Illustration: Morgan Sea
112 colour pages with gatefold letterpress cover, printed by Nick Shick, Anthea Black, and Queer Publishing Project at OCAD University Printmaking and Publications on Vandercook Universal and No. 4 presses. Edition of 1,200.


LAUNCHES:
Alberta College of Art and Design, Calgary, Canada March 9-10, 2018.
Art Metropole, Toronto, Canada, March 21, 2018.
OCAD University Student Union and Office for Diversity Equity and Sustainability, Toronto, Canada, March 22, 2018.
California College of the Arts, San Francisco, USA, October 2018.
OR Gallery, Vancouver, Canada, October 2018.
Artexte Information Centre, Montreal, Quebec, October 2018.


LECTURES:
Anthea Black, Queer Publishing as Pedagogy talk, presented by Queer Conversations in the Arts and Culture, California College of the Arts, San Francisco, October 2018.
https://www.youtube.com/watch?v=rY2ROvlQNGA&feature=youtu.be

A conversation with Anthea Black, Kama LaMackerel (Our Bodies, Our Stories), and Jenny Lin (B&D Press) and Q&A with Production Mentor and Lead Printer Nick Shick in attendance, Artexte Information Centre, Montreal Quebec, October 2018.

Anthea Black, Surviving Academia for Queer and Trans Profs, 2019 AICAD Symposium, "INCLUDE ME! Diversity, Equity, and Inclusion," Otis College of Art and Design, Los Angeles, California, November 2019.


LIBRARY COLLECTIONS:
Alberta University of the Arts, Calgary
Art Center College of Design, Pasadena
Artexte Information Centre, Montreal
Banff Centre, Paul Fleck Library and Archives, artist's book collection, Banff
The Black Archives, Amsterdam, Netherlands
California College of the Arts, Meyer Library, Oakland
Concordia University, Montreal
Cornell University, Ithaca
Design Academy Eindhoven, The Netherlands
Kansas City Art Institute, Kansas City
Maryland Institute College of Art, College Park
Metropolitan State University, Denver
Minneapolis College of Art & Design, Minneapolis
Monash University Library, Melbourne, Australia
Moore College of Art and Design, Philadelphia
National Gallery of Canada Library, Ottawa
NSCAD University, Halifax
OCAD University, Toronto
PaTi - Paju Typography Institute, Paju Bookcity, Seoul, South Korea
RMIT University Library, Melbourne, Australia
Tufts University, Tisch Library, Boston
UC Berkeley
University of the Fraser Valley, Abbotsford
University of Maryland, College Park
University of San Francisco
University of Waterloo, Kitchener-Waterloo
Van Abbemuseum, Eindhoven, The Netherlands
York University, Toronto

MEKAN OLARAK SANATÇI KİTABI
MEDYUMUNUN KULLANIMI

‘Sanatçı Kitabı’ ya da ‘Sanat Yapıtı Olarak Kitap’
Sanatçı kitabı, sanatçının kitaba mekan muamelesi yaptığı, kitabı başlı başına bir iş olarak öngördüğü üretim biçimlerini kapsıyor. Burada yapılmış, bitmiş herhangi bir işi belgeleyen basılı bir malzeme ya da katalogdan söz etmiyoruz. Sanatçının kendini ifade edebilmek için doğrudan basılı malzemeye başvurduğu bir üretim biçimi. Ortaya koyalabilmek için kitap mekanına ihtiyaç duyan türden üretimler.

Tropecassino: Um Jogo em Fantasia (2009) é um livro sobre o processo que João Perdigão enfrentou para co-escrever O Rei da Roleta - A incrível vida de Joaquim Rolla (2012).
O livro versa sobre como é ser um escritor frustrado, explora personagens e locais paralelos, mostra o mapa do percurso da pesquisa, o processo de colar pôsters de personagens mortos em diversos locais específicos, além da infância do próprio autor.
O projeto foi uma monografia na pós-graduação de Arte e Contemporaneidade da Escola Guignard e teve orientação de Brígida Campbell, além das participações de Ana Carolina Jácome, Estan de Lau, Kael Kasabian, Luiz Navarro, Luiza Schiavo, Mel Rocha, Mosh Moshi, Serge Onnen, Renato Negrão, Rubens Paiva, Warley Desali eTomás Santa Rosa.

Artículo incluido en las «Actas del I Foro Internacional de Arte Múltiple».

Durante los días 20 y 21 de octubre de 2011, se celebró el I Foro Internacional de Arte Múltiple, en el marco de la Feria de "Estampa Arte Múltiple". Siguiendo las principales líneas de actuación trazadas desde la Dirección del evento y en colaboración con D. Javier Blas – Director Artístico de la Feria – el grupo dx5 - digital & graphic art research actuó como co-organizador de dicho foro, y formó parte integrante del comité científico del mismo.

El Foro de Arte Múltiple sirve como plataforma de encuentro y comunicación para especialistas, artistas e investigadores, en torno al arte múltiple, entendido desde una órbita claramente multidisciplinar, que abarca todas las manifestaciones susceptibles de ser editables: fotografía, grabado, escultura, vídeo, arte digital, libros de artista, arte sonoro y otras manifestaciones de arte seriado. Ahora más que nunca, conceptos como serie, original múltiple o autoría compartida, se hallan en plena efervescencia: el arte contemporáneo es múltiple.

El foro se articulaó en torno a tres grupos de trabajo. Durante la jornada del día 20 tuvieron lugar dos mesas redondas, que abordaron los enfoques científico-técnico y teórico-conceptual respectivamente, constituidas por artistas e investigadores de distintos grupos de investigación de universidades y centros de arte españoles e internacionales. En estas sesiones cada ponente intervino con una comunicación, pero tabién debatió con el resto de conferenciantes, así como con el público asistente, que podía lanzar o plantear diferentes cuestiones relacionadas con los contenidos propuestos. Asimismo, el día 21 se desarrolló un tercer taller correspondiente al apartado de praxis artística, más vinculada a la realidad expositiva y comercial del mercado, con la participación de gestores y comunicadores con responsabilidad en departamentos de investigación en centros de arte, museos y asociaciones, a cargo de la Fundación Telefónica y bajo la tutela de Karin Ohlenschläger (Vicepresidenta del Instituto de Arte Contemporáneo).

The #MeTooMovement started with one empathetic organization and crescendoed to a staggering number of victims telling their stories through social media and artistic mediums. The #MeTooMovement is a powerful force, undeniably, after the media blitz of hashtags, after institutions were faced with new ethical questions, and after victims' publicly denounced their alleged abusers. The art sector offers one example of the personal narratives that developed around the #MeTooMovement and the strategies deployed by art activists in order to bring awareness. It also shows how power dynamics were challenged within art institutions in order to empower those in positions of less power. The #MeTooMovement has consciously and organically harnessed the power of art in order to promote change. Several strategies have proven effective in their process of building awareness, demanding institutional reactions, and

"Lucy Mulroney has made the first forays into the editorial history of the books written by Warhol, and she has demonstrated for "a: A Novel" that hidden behind the supposedly deliberate sloppiness and automatism of the process of producing the books there was in fact a tour de force of publishing procedures that were carefully controlled by Warhol. In the present catalogue she works out for the first time the genesis of one of Warhol's best-known books: "THE Philosophy of Andy Warhol (From A to B and Back Again)." --Nina Schleif

Ateliér, obývačka, spálňa, nahrávacie štúdio, kino, otvorený priestor pre kohokoľvek a doslova čokoľvek – tým všetkým (a ešte viac) bola legendárna Silver Factory Andyho Warhola. Bola miestom, kde rozkvitol do svojho najkrajšieho obdobia newyorský underground, kde vznikali prvé intermediálne projekty a v ktorom zdravý rozum akosi príliš často „dovolenkoval“. Dejiny nám však ukazujú, že to bolo naozaj užitočné. Factory? To bola jedna veľká párty! A dovolím si tvrdiť, že jedna z najväčších a najkonzistentnejších, pretože pre svet umenia vyprofilovala fenomenálnu postavu kráľa pop-artu.
Factor-Y 2019 je sprievodcom aktivít Múzea moderného umenia Andyho Warhola za uplynulé dva roky. Vyberali sme ich podľa dvoch základných atribútov: ich premiérový či pilotný charakter, ktorý je niečím špecifický a spôsob, akým sú prezentované smerom k verejnosti. Ich význam sa v tejto publikácii snažíme zdôrazniť, respektíve chceme ich prerozprávať formou akéhosi skráteného „príbehu“, na pozadí ktorého boli tieto aktivity realizované. Factor-Y je pre nás spôsob, akým dokážeme spojiť entuziazmus s muzeálnou prácou, ktorej cieľom je experimentovať so zážitkom či skúsenosťou návštevníka (Martin Cubjak).

Factor–y 2019, (eds. Martin Cubjak, Richard Kitta), vyd. MMUAW & Dive Buki, Medzilaborce/Prešov/Košice, Slovakia 2019, ISBN 978-80-973530-0-1

There are many stories, and histories, of animation film. Yet there are other ways of telling a story of animation that peel back and go below the material, historical and factual surface of this cinematic technique. Because the seven thematic concepts of Watch Me Move have a specific thematic focus, it allows permeation between different animation techniques and historically and stylistically discrete canons. This essay concentrates on four of the themes that consider the viewer's experience of animation: apparitions, structures, fragments and visions. Many works in these themes share certain features, properties and experiential phenomena for viewers. They tend to:  undermine conventional narrative; lack dialogue and are sound and music driven; feature imaginative, impossible 'worlds' and non-anthropomorphic figures; offer philosophical/perceptual concepts that diverge from our everyday experience of 'reality', and they are often self-reflexive. Tex Avery, one of the most radical Hollywood cartoon directors, is purported to have said "You can do anything in an animated cartoon." Looking beyond the cartoon, this essay reveals the fabulous experimentation of some of the exhibition's works that fall outside the realm of commercial popular culture, foregrounding the viewers' experience of the creative imagination that the animated form presents.

Suzanne Buchan was a Curatorial Advisor for the exhibition.

Visual and cultural analysis of Meiji shōnen kaiko 明治少年懐古 (Reminiscences of a Meiji youth, 1944), an illustrated book that nostalgically recalls Japan's late nineteenth and early twentieth century period of modernization. The book is in the Pulverer Collection of Japanese illustrated books of the Freer Gallery of Art, Smithsonian Institution, Washington, DC and is featured on The World of the Japanese Illustrated Book website. My commentary, along with a complete set of readable images of the book, may be found here: http://pulverer.si.edu/node/440/title/1.

Becoming commercially available in the mid 1960s, video quickly became integral to the intense experimentalism of New York City's music and art scenes. The medium was able to record image and sound at the same time, which allowed composers to visualize their music and artists to sound their images. But as well as creating unprecedented forms of audiovisuality, video work also producedinteractive spaces that questioned conventional habits of music and art consumption. This book explores the first decade of creative video work, focusing on the ways in which video technology was used to dissolve the boundaries between art and music.

The democratizing movements of small press and artists book publishing attained political consciousness and blossomed alongside and in direct proportion to-the social and cultural upheavals of the 196Os and early 197Os. What is surprising is that they are rarely talked about in the space of the same paragraph or the same page or even the same book in most print culture histories. Dick Higgins' the Something Else Press (1964-1974) questioned the very distinction between between literary small press publications and artists books, even before the latter term was formulated. Higgins' refusal to dis-entwine literature from art, both in his own work and within the context of SEP (and later) publishing projects, is in line with his conceptualization of intermedia, and his experiments with the book form as a way to disturb divisions between the arts. This paper explores the material history of SEP publishing practices and Higgins' connections with the small press community (and COSMEP in particular) to offer correctives to established narratives of SEP within the history of artists book publishing.

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.

Um panorama dos aspectos políticos associados ao ato de publicar, desde os vínculos históricos com os panfletos e os protestos na década de 1960 até os fatores sociais e econômicos, como o acesso aos meios de produção e as formas alternativas de distribuição.
O texto destaca alguns artistas e editoras da América Latina que, apesar de seu importante papel na história dos livros de artista, receberam
reconhecimento tardio dos museus e críticos de arte.

This essay addresses the systems explored in Sol LeWitt's photobooks as well as the (social) networks threaded through them. It treats all such publications by LeWitt--with the notable exception of Autobiography (1980), which has been analyzed by other authors (DiBenedetto and Weinberg).

This is a book of twenty-one poems by Iowa poet Michael Andorf (1947-2022). It was produced and published in a limited edition in 2013. Each poem is accompanied by an original full-color digital image, from those that were designed by twenty-one undergraduate graphic design students at the University of Northern Iowa. These resulted from one of the projects in a course on Digital Image Design, taught by Professor Roy R. Behrens, in the UNI Department of Art. The cover image is adapted from a photograph of Irish poet William Butler Years by George Charles Beresford (1911), public domain. In addition to Andorf's poems, other contributors to the book include Danielle Firkins, Jalessa Hall, Colin Hazelton, Sarah Hedeen, Beau Heyenga, Morgan Johnson, Megan Lehman, Jenni Lehmann, Jessica Libberton, Kenneth Meisner, Derek Miller, Cari Murray, Margo Niemeyer, Maggie Reifert, Ben Randall, Matthew Schmid, Bethany Thomas, Hannah Thorson, Ben Uhl, Megan Vande Lune, and Stephanie Wharton.

Um conjunto de obras que pertencem ao acervo da Coleção Livro de Artista da Universidade Federal de Minas Gerais serviram como ponto de partida para esta reflexão a respeito das técnicas de impressão. Os livros foram exibidos em 2019 na mostra Matéria de Poesia, formada por 34 trabalhos impressos em 12 técnicas diferentes, e incluem processos artesanais e industriais; técnicas tradicionais ainda em uso, como o estêncil, ou obsoletas, como a tipografia. A maioria dos livros aqui apresentados são como um comentário a respeito das possibilidades técnicas do método de impressão escolhido. Buscamos demonstrar como o conhecimento especializado e o acesso aos meios de produção são dois aspectos importantes do trabalho artístico. Adaptamos para o campo do livro impresso os conceitos usados em estudos de gravura, as técnicas foram agrupadas por semelhança no processo de produção da matriz ou pelo método de impressão. Comparados aos demais livros de artista, constatamos que os trabalhos dos artistas-impressores se destacam pela sua qualidade gráfica e pela interdependência entre o conceito e sua forma de apresentação.

This is an idiosyncratic guide to self-publishing. We think that self-publishers should craft their own hybrid publishing and distribution solutions. This booklet, we hope, is an aide for those curious about the process and who may want to start doing their own publishing.

Temporary Services has been actively thinking about, making, talking about, selling, and giving away publications for over 16 years. We have written or said things in interviews and lectures about our publishing, but we have never sat down to craft a long-form essay about our efforts and where they fit in the larger world of artist books, artist publishing and book making. This booklet is an attempt to articulate our ideas about publishing, particularly in light of the current post-digital environment. It was published to be given away during the life of our temporary print shop called Publishing Clearing House.

Here is a description of that initiative:

Strangely, in our 16 years of working together, we had never done a project that was just focused on making publications. When people find out that we run Half Letter Press, they often ask us where our press is located—we have to tell them that we actually work with other printers to make everything. While we probably won’t be making offset printed and perfect bound books in our own facility any time soon, we have purchased our own Risograph duplicator (a.k.a RISO) and a booklet stapling and folding machine—both of which were used to make parts of this booklet.

Publishing Clearing House is an initiative that will be a temporary, fully functioning print shop. Temporary Services—with Kione Kochi, Kristian Johansson, and Leah Mackin—will work with invited collaborators to produce new booklets and printed works during the run of the show, sharing and launching publications.

In banking and finance, clearing denotes all activities from the time a commitment is made for a transaction until it is settled. In Publishing Clearing House, clearing denotes all activities from the time a commitment to an author is made, until the publication is designed, printed, stapled, folded and distributed. Making a clearing is also about creating a space for meeting and making processes visible, open and transparent.

For this effort, we have invited a diverse range of individuals, groups, and organizations with an emphasis on Chicago, the Midwest, and artists, activists and authors not always included in the 0conversations of the dominant culture. This includes juveniles and the incarcerated, as well as those who represent or articulate narratives counter to dominant cultural norms. Visitors will be able to meet members of Temporary Services and some collaborating authors on many days of the exhibition, and watch the mechanics of the print shop as works are developed and produced. We will make the entire process of making a book, which is always socially engaged in some manner, more visible than it usually is.

In addition to the enigmatic The Codomas, Henri Matisse distinguished three other images with a name, Icarus, Monsieur Loyal and Pierrot’s Funeral for his landmark livre d’artiste Jazz. While the characters Loyal, Pierrot and Icarus were readily identifiable and the images could be interpreted within the context of the difficulties of the German Occupation of France, extensive investigations could not uncover any trace of the name Codoma. Widely considered to be an acrobatic troupe, this article reports on the search to decipher The Codomas. What this research discovered was an internationally renowned circus troupe called The Flying Codonas, sometimes called Les Trois Codonas, whose repeated tragedies were widely reported in France. The misfortunes of The Flying Codonas were the subject of a film, a music recording and a book which was extensively distributed in France at the time Matisse created The Codomas. This paper argues that Matisse intended to portray the tragedies of the Codonas in his image and that the most likely cause of his misspelling of the name was due to a prolonged memory lapse. However, it remains puzzling how the many helpers that handled the image between its creation and final publication, did not identify and correct the error. Even more difficult to explain is that over seventy years since the publication of The Codomas in 1947, the extensive scholarly, curatorial and journalistic attention accorded to Jazz has not referenced the misspelling. This article adds to the extensive scholarship devoted to Jazz.

The text is about the attitude of copying works of art, from a natural process of learning and authorized composition scheme to a crime. At the same time, it deals with the practice of contemporary artists that changed the purpose of the copy, from simple study to autonomous work of art.

The next of our Visiting Scholar 2018 reports is from José Luís Neves, Lecturer in Photography at Ulster University. In this report José shares with us his highlights from this summer’s visit to St Andrews – one of the photographic albums in the Library’s Special Collections.

У дослідженні вивчається специфіка письменницької публіцистики. Зазначається, що в основу публіцистичних виступів письменників покладено особливий тип мислення (він виражається в тому, що комунікант має чітку світоглядну позицію), принцип організації текстів (тут автором демонструється новаторський підхід до форми публіцистичного твору) та спосіб висловлювання, який налаштований на активізацію читача через раціональну та емоційну реакцію на прочитане з метою формування або трансформування його світогляду. Предмет відображення письменницької публіцистики завжди має соціальне походження, оскільки мета комуніканта полягає у спонуканні читача до визначення своєї світоглядної позиції. Щодо комуніката письменницької публіцистики, то автор спонукає читача до активізації своєї власної світоглядної позиції. Реакція читача на сказане автором та героєм обумовлюється необхідністю усвідомлення читачем своєї світоглядної позиції або ж шляхом трансформування наявних у читача поглядів. Точка зору читача, як і точка зору героя цінна для автора як така, що реально існує у соціумі. Формуючи позицію читача, автор активізує емоційний та раціональний рівні сприйняття зображуваного. У межах однієї з оповідних інстанцій завжди задіяне особистісне сприйняття, коли автор намагається створити атмосферу спілкування віч-на-віч. Активність сприймання забезпечується також постійним порушенням горизонту очікування та розширенням комунікативної компетенції реципієнта.