AND shop
Here you can download or purchase hard copies of essays and projects by artists,
designers and curators that will be printed, bound and sent to you on demand.
| kuboaa Issue 2 Rob Carter 21 x 29.7 cm, 27 pages A progressive publication edited by Robert Carter. Content: Holiday by Matthew Reed, £4 (including shipping in the UK) |
| Community Without Propinquity Inheritance Projects 260 x 190 mm, 116 pages, digital offset & risograph printed with clip binding A publication produced on the occasion of the exhibition 'Community Without Propinquity' at Milton Keynes Gallery, October to November 2011. Includes new commissions alongside material from the exhibition. Contributors: Amanda Beech, Paulo Catrica, Nathan Coley, Caroline Devine, Cao Fei, Cyprien Gaillard, Dominique Gonzalez-Foerster, Pierre Huyghe, Jesal Kapadia, Kelly Large, Minouk Lim, Wayne Lloyd, Vincent Meessen, Ishmael Randall Weeks, Pia Rönicke, Emma Smith, Patrick Staff, Mark Aerial Waller, Stuart Whipps, Bai Xiaoci, Huang Xiaopeng. £8 (plus £3 shipping in the UK) |
| Three Letter Words - OMG Publish & Be Damned 21. × 29.7 cm 40 pages, colour, digital print edition Three Letter Words is the Publish & Be Damned magazine of alternative publishing and distribution. Edited by Kit Hammonds, Louise O’Hare and Kate Phillimore. Cover Design Issue 1: OMG, September 2011. Featuring work by Sara MacKillop, Daniel Wilkinson, Toril Johannessen, Richard Parry on Augusto De Campos, interview with Della Van Hise and Antonia Blocker. For more information, please go to www.publishandbedamned.org GO TO SCRIBD TO VIEW OR DOWNLOAD |
| Collapse Cullinan Richards 21. × 29.7 cm 100 pages, colour, digital print, Several years of work collapsed into image, text and tactility. Printed as a limited |
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New Society of Dilettanti The Black Merkin 4.3 x 6.9 in. 276 pages, perfect bound paperback 1 Novel, 170 Authors. A crowd-sourced project managed by Laura Edbrook and Norman James Hogg under the transitory moniker New Society of Dilettanti. 170 individuals were asked to rewrite an entire romance novel using a ‘tribal’ model of authorship. Participants received sections via email to be rewritten following only a few basic instructions. The result is The Black Merkin—a ‘new’ novel bearing little if any resemblance to the donor text. It is equally a ‘broken’ novel; the unrestrained swarm of authorial impulsions hollows out narrative structure and coherence. For full project details go to: www.badromancer.co.uk £6.39 (plus shipping) GO TO LULU TO PURCHASE |
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Mir Gwilliam-Parkes Journey Through An Image 60 Pages, 25x20 cm, colour, digital print, perfect bound Journey Through An Image uses the format of a book to take the viewer on an exploration of a single photograph. The photograph was taken as the camera travelled the length of a road, whilst being carried by the photographer. The shutter remained open throughout the entire journey, the journey took three minutes. £19.95 (plus shipping) GO TO BLURB TO PURCHASE |
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Rahel Zoller Kafka and I – and I 5.83 x 8.26 in. 47 pages, perfect bound The relationship between reader and text is an intimate and private exchange. £9.00 (plus shipping) GO TO LULU TO PURCHASE |
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Rahel Zoller Skeleton Book 5 × 8 inches. 48 pages, perfect bound Skeleton Book is an exploration and illustration of the rules of book design. £8.00 (plus shipping) GO TO BLURB TO PURCHASE |
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Roman Vasseur Let Us Pray For Those Residing In The Designated Area 52 page, 22.86 x 16.51 full colour, digital print, perfect bound Designed by Thomas Ulrik Madsen @ T.U. studio Published by kynastonmcshine projects with Kingston University Distributed by kynastonmcshine and AND Public ISBN 978-0-9568459-0-0 Art, democracy, state building, cinema and the spectre of ‘the public’ are entertained in this part fact part fiction account of the artists’role as Lead Artist for the Frederick Gibberd designed town of Harlow during 2009/10. In this book the Artists Placement Groups ‘incidental person’ is led into new configurations of capital and art in a town designed as a total artwork and populated by the works of Moore, Chadwick and Hepworth. New writing by Matthew Poole and Roman Vasseur, with interview with curator Marie-Anne McQuay and Diann Bauer, Amanda Beech and Wayne Lloyd. Limited edition also available. Please contact kynastonmcshine projects for a copy. £10 (plus £2 shipping in the UK) |
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Zhujun Li Filmic Journey 80 Pages, 20.5 x 14.5 cm, black & white, digital print, stapled Filmic Journey is a book based on experimentations with visual images and writing. £10 (plus £2 shipping in the UK) |
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Rachel Cattle & Steve Richards Linger On Your Pale Blue Eyes 40 pages, size 26 x 40 cm, b&w, digital print, stapled |
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Ruth Ewan Don’t be a Robot 101 pages, A3, b&w, colour cover, digital print Donʼt be a Robot brings together one hundred drawings by young people. The drawings are imitations of a cartoon by political cartographer and artist J.F. Horrabin, first published in the magazine of The Plebsʼ League in the 1920s. This compendium of cover versions forms a rich body of interpretations. As a homage to the work of Horrabin it illustrates the bind in learning itself – is there such a thing as a neutral education process? £30 (plus £8 shipping in the UK) |
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Roman Vasseur Mass For Real Estate PowerPoint animation and pdf (co-written with Matthew Poole) Mass For Real Estate presents us with an animated Powerpoint and text built from a combination of words and images that take as their cue a 1948 prayer of dedication for a new post war settlement. Evocative of the actual project from which they came, the two elements depict real and fictional artworks that act as places for gathering a fictional community that is nevertheless material and always in a state of ʻbecomingʼ. The work is inspired by Vasseurʼs role as Lead Artist for Harlow New Town, from 2007- 2009. £10 (plus £2 shipping in the UK) for printed pamphlet and e-mailed PowerPoint |
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Neil Chapman Glossolaris 16 pages, 28 x 18.5 cm, b&w, digital print, clip fastened Designed by Nia Murphy Produced by AND ISBN 978-1-907840-03-6 Many of the books on your shelves have been important. They have been cited, engaged with and discussed. But there are some that remain more ambiguous in their contribution. Inspired by Gilles Deleuze and Michel Foucaultʼs technique of ʻdiagonal readingʼ and taking Stanislaw Lemʼs Solaris as narrative context, Glossolaris proposes a procedure for writing. The procedure draws marginal research sources more firmly into work. Scenarios for a new book emerge. They do so like phenomena witnessed on the surface of a remote planet. The new book will not be written, the scenarios will exist as a plan. £10 (plus £2 shipping in the UK) |
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Colm Lally and Sissu Tarka PROOF-READING 100 pages, 21 x 14.8 cm, b&w, digital print, loose cards Designed by the artists Produced by AND ISBN 978-1-907840-06-7 PROOF-READING is an index of proofread pages from an artist book documenting the artists' actions during a residency in Banff, Canada, 2007. This first book, they felt, needed a further process to make transparent economies of making/publishing, systems of disconnections, the polyvocal, and established tactics of “improving content”. PROOF-READING contains selected pages marked by the invited proofreaders: artists Yane Calovski, Cyril Lepetit, Edgar Schmitz and Anne Tallentire, composer Derek Charke and psychoanalyst Anouchka Grose. |
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Oliver Cronk Monsters of the Wallace 20 pages, 17 x 17 cm, b, digital print, sewn |
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Print Matters Interest Group, CSM Dear Google Source publication: Print Matters Interest Group, a group of BA Graphic Design students from Central Saint Martins, collaboratively produced Dear Google to explore the transition and (mis)readings when printed matter is made digital. The book is designed to be sent to Google to be scanned by hand and seen online as a digital book. Each bespoke page of this 'open letter' confronts the scanner (and the audience) with questions of the nature and ownership of content, and of how the book should be read and thus reproduced. Google scan to be ready to view shortly. NOT YET FOR SALE |
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Amanda Beech, Jaspar Joseph-Lester & Matthew Poole Contingency of Curation Symposium at Tate Britain, May 21st 2010 First published in 2010, 180 pages, soft cover The Contingency of Curation is a project led by three groups of postgraduate curating students from Chelsea College of Art and Design, the University of Essex and Sheffield Hallam University. |
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Gregory Sholette Some Call It Art: From Imaginary Autonomy to Autonomous Collectivity This essay was first presented at the conference “Dürfen die das?” organized by Stella Rollig and Eva Stürm for the OK Center for Contemporary Art in Linz, Austria in March of 2000, 25 pages A response to certain questions paraphrased as follows: What is the social value of art? Is it symbolic, or is art’s signifi cation something to manipulate, a strategyfor other, more practical, even political ends? www.gregorysholette.com Download pdf here |
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Gregory Sholette i am NOT my office The project was first exhibited in Critical Mass at the Smart Museum of Art, Chicago, 2002, 4 pages i am NOT my office consisted of models, comics, drawings, and photographs based on an email questionnaire sent to people working in offices that asked them what type of “prosthetic” or super power they would like to possess in order to live out a personal fantasy while doing routine work on the job. www.gregorysholette.com Download pdf here |
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Gregory Sholette Counting On Your Collective Silence: Notes on Activist Art as Collaborative Practice This essay first appeared in the November 1999 issue of Afterimage: The Journal of Media and Cultural Criticism, 13 pages If collective incorporation is so unrelenting that it can be revealed by a machine, one might question why non-individual cultural activity is treated as the exception? Conversely, how can the artist be defined as an autonomous producer detached from politics, history, and the market? Download pdf here |
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Gregory Sholette Heart of Darkness: A Journey into the Dark Matter of the Art World This essay was first published in the book Visual Worlds, John R. Hall, Blake Stimson & Lisa T. Becker editors, (NY & London: Routledge, 2005), 18 pages Where are these informal artists and what impact might they have on contemporary culture if any and how would the hegemony of the art world be affected if scholars began to discuss the work of “Sunday” painters, amateur artists and hobbyists in terms similar to those used for “professional” artists? Download pdf here |