June 30, 2011 at 5:26pm
Notes
I interviewed publisher and cultural polyglot James Bridle for Rhizome. He did not want to talk about images. I, however, do. Next time around, perhaps!
SH: The role of the image in electronic book publishing is a complicated one, as each e-reader presents a particular set of challenges in terms of color, resolution, and scale. Given the primary role of the image in many artist-produced publications, how are you responding to these challenges within your own project?
JB: I don’t have much to say on this, sorry.
May 4, 2011 at 10:41am
Notes
“What is an exhibition catalogue or an artist’s e-book – or rather, what could they be – when materially bound to a physical format rife with implications, commercial and otherwise? Art e-book publishing invites institutions and artists alike to imagine a new and different future for these forms while reconsidering their historical and ideological positions. Clearly, that future is now.”
Off the Page, a piece on digital publishing I wrote for the May issue of Frieze magazine, is now online.
Another thing that happened while I was waiting for the G train this morning: the “enhanced e-book” version of Paul Chan/ Badlands Unlimited’s Waiting for Godot: A Field Guide went on sale for the iBook and Kindle. I wrote about this book in my piece, and it is—well, it was designed by Artforum art director Chad Kloepfer; features video documentation of Chan’s Waiting for Godot production; and is simply stunning.
NB: Thanks to Joanne and Rhizome for the reblog! Same goes out to Joy and Newsgrist!
My piece from Paper Monument, Issue 3. Online, because it’s about the Internet.
“I stayed. I took a look at my watch. I thought, I’m going to be the last person left in this room, you little prick, even if this performance goes on for the rest of our fucking lives.”
— From the Editors
The third issue of Paper Monument drops TODAY. Join me and the rest of the lot at The Drawing Center, 35 Wooster Street from 6:30-8:30 pm. Readings will begin at 6:30; wine and socializing to follow. Illustrated, annotated bibliography here. And yes, I know that I already posted on this event. It’s my party, people—the blog, that is.
If the blog-to-book phenomenon has done little for the book as a discrete object, we might consider its potential as a means of creating an experience economy in the publishing industry that does more than simply plop a few overstuffed sofas and a Starbucks in the lobby of Barnes and Noble—one that positions the book as a catalyst for the social encounters the Internet helps facilitate.
— This just in: Welcome to the Book Club, my piece from this month’s issue of the Brooklyn Rail is now online. It’s a follow-up to a bit I did earlier in the summer called In Print We Trust.
In a fit of facetiousness that harkens back to my Curbed SF days, I penned a little tongue-in-cheek post on Gap founder Don Fisher’s failed plans for CAMP (his 100,000 square-foot, Diller Scofidio + Renfro-designed museum in San Francisco) for my friend Eve’s SF Appeal. Fun.
+ No Camp? No Kidding. (SF Appeal)
July 14, 2009 at 11:24am
Notes
The Rumpus picked up my piece from the Brooklyn Rail, “In Print We Trust.” Carrying on the conversation about — you guessed it — blogging for book deals.
“While media watchdogs fixate on the actual book deals—namely, on the dollar sum of the advance, as this is one form of online commerce that still amazes us—few pause to consider the books themselves. How strangely anachronistic is it (and yet, extraordinarily telling) that those who participate in perhaps the most monumental democratic exercise ever—and who do so daily, often for a living—would seek to tame the great, unbridled, immaterial beast that is the Internet with some high-gloss stock and two binding boards? How thoroughly odd it is that one would attempt to translate the particular digital reading experience of the Tumblr blog, or Twitter feed, or Facebook update into an analog one. What about the Kindle?”
Me, in the Brooklyn Rail, today.
Conrad Shawcross’s, Pre-Retroscope VI: Gowanus Journey opened last night at Cabinet’s space on Nevins Street. On Friday, I ran the second half of my previous Art in America interview, where he discussed the project, which originated in London.
+ Pre-Retroscope: Conrad Shawcross Charts the Gowanus Canal (Art in America)
See also:
+ Control: A Conversation With Conrad Shawcross (Art in America)
+ Cabinet (website)
April 18, 2009 at 7:26pm
Notes
Join me, Paddy Johnson, David Coggins, and others for:
THE GLORIFIED DOCENT at the Elizabeth Center for the Arts.
The Glorified Docent is an evening of screenings of bootlegged art films, with live color commentary from guest “critics” based on the structure of Mystery Science Theater 3000 (MST3K), the American cult television comedy series that aired from 1988 to 1999. The critics remain anonymous, with only their silhouettes visible as they give their spontaneous “Siskel & Ebert from Hell” take on what they are watching.
Guest critics include Art Fag City, David Coggins, Bill Cole, Steve Dumain, the Eh-Team, Sarah Hromack, Lady Rizo, Nathan Shafer, and others.
The evening events are organized in conjunction with the current exhibition, Never Late Than Better, where the future and past are irrelevant, and reality is a curator’s whim.
March 22, 2009 at 11:25pm
Notes
AiA Online Week in Review: 17 - 21 March 2008
Art in America 2.0:
+ Brian Droitcour on artists’ blog or “surfing club” Loshadka.
+ Bartholomew Ryan in conversation with Nicolas Bourriaud and Mierle Ladermen Ukeles.
+ Me on the Queens Museum’s foray into NYC real estate and Into the Open: Positioning Practice at the New School.
March 2, 2009 at 1:53pm
Notes
Introducting: Art in America 2.0
+ Bartholomew Ryan on the 100th Anniversary of the Futurist Manifesto
+ Bosko Blagojevic on David Maljkevic
+ Kriston Capps on Brandon Morse
+ Jess Wilcox in conversation with Adam Pendleton
+ Piper Marshall in conversation with Kerstin Bratsch
+ Petrushka Bazan in conversation with Hank Willis Thomas
And counting … All new, original content plus features from the print magazine.
1.
