terça-feira, 30 de novembro de 2010

La Más Bella





La Más Bella ANDA es la edición más reciente de La Más Bella, publicada en febrero de 2010. Los colaboradores de La Más Bella ANDA fueron invitados a participar a partir de un tema monográfico expresado en la idea/frase La Más Bella ANDA (La Más Bella WALKS). En esta ocasión, se invitó a creadores a los que La Más Bella conoció o con los que había colaborado en proyectos fuera de España en los últimos dos años. Así, los trabajos publicados en La Más Bella ANDA proceden de países como Egipto, Portugal, China, Letonia, Chile, Venezuela, Brasil, Argentina, Irlanda, Alemania, Estados Unidos, etc.


+ información de La Más Bella ANDA [aquí]
 
Cada edição desta revista tem um formato diferente: um avental com bolsos de diversos tamanhos, uma caixa com varios tipos de adesivos, desde fitas adesivas a stickers, decalques e selos postais.

segunda-feira, 29 de novembro de 2010

Charles Gute


page from

Revisions And Queries

Lawrence Weiner Interview, 2006
archival piezo print on Hahnemühle rag, 33" x 46"


For several years I've worked with text as a primary material in both my visual art and freelance work as an editor of art books. More recently, these separate practices have begun to overlap: in new works on paper I've begun to reframe the act of editing the written word in terms of drawing.

Typically I'll receive from publishers uncorrected page proofs in the form of PDF files sent via e-mail. One of my jobs as an editor is to find and correct errors, a process of marking up the manuscript on the computer screen. After the corrected proof has been e-mailed back to the publisher and the book has gone to print, I'll sometimes go back to the computer file and strip out all the content except for my own revisions, queries and copyediting symbols. These notations are not moved or altered. I'll then take a sequential grouping of such pages and layer them — as if bound into a book. Although rescaled, the resulting constellation of marks remains true to the original manuscript's layout and registration, and the overall trim size is proportionally the same. Though the editorial process becomes in some ways more transparent, the traditional goal of this process — to maximize the clarity of a given text — is displaced by a purely visual agenda. The end result is an abstract line drawing that maintains a specific yet oblique relationship to its original source material. (more at Charles Gute)

terça-feira, 23 de novembro de 2010

A vida secreta das árvores



Uma bela edição, impressa em silk-screen. Este livro tem até site, com informações sobre a técnica tradicional de pintura indiana.

Leonilson

Álbum estigmas curiositas exvagos V, 1989
Comodato Eduardo Brandão e Jan Fjeld
Museu de Arte Moderna de São Paulo

sexta-feira, 19 de novembro de 2010

Paulo Bruscky


Encerramento da exposição + lançamento do catálogo



Composição Aurorial

Artista limpo e desinfetado
Daniel Santiago e Paulo Bruscky


O que é arte? Para que serve?

Tijuana

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quinta-feira, 18 de novembro de 2010

Carlos Matuck




Capas de livro utilizando a técnica do stencil e spray (acima) e com carimbos (imagem abaixo). O Matuck é um dos artistas pioneiros do grafitti no Brasil, ao lado de Waldemar Zaidler e Alex Vallauri, que ele conheceu em 1978.

terça-feira, 16 de novembro de 2010

Wyndham Lewis

The Enemy, 1927

Capa da revista de poesia The Enemy. Lewis era amigo de Ezra Pound.

domingo, 14 de novembro de 2010

Josse Goffin


Este é um livro sem texto. A cada página há uma ilustração, em cada ilustração abre-se uma aba, e atrás de cada aba há uma surpresa! O que é uma coisa transforma-se em outra. Uma xícara vira um barco, um pregador vira um peixe...

Marc Thomasset

Inspiration Pad






compare com os cadernos de Ivens Machado e de Jaime Narváez publicados no gramatologia.

Robert Arneson

Typewriter, 1966

quinta-feira, 11 de novembro de 2010

terça-feira, 9 de novembro de 2010

sábado, 6 de novembro de 2010

Germano Celant

Celant, Germano.
Book as Artwork 1960/1972.
Brooklyn, NY: 6 Decades, 2010.
New edition of 800 copies; 104 pages. $20


Originally published in 1972 by the Nigel Greenwood Gallery, Book as Artwork 1960/1972 was the first catalogue devoted to the then new medium of the artist’s book and it remains a canonical reference (though one that, due to its scarcity, is not as well known as it should be). This publication started as an article and a list of about 80 artists' books which appeared in 1970 in the first issue of the Italian magazine Arte. Not long after it was translated and published in Interfunktionen. Then in 1972 the Nigel Greenwood Gallery in London mounted an exhibition of artists' books and issued a catalogue with an updated text by Celant and a greatly expanded bibliography (now nearly 300 titles) jointly compiled by Celant and Lynda Morris. The exhibition was the first of its kind and the catalogue a genuinely historic publication.

Grounded in the media studies of Marshall McLuhan and philosophical writings of Herbert Marcuse, Celant's analysis of the medium has the feeling of a definitive statement. He lays out exactly what makes the medium important while noting the historical trends and key individuals that led to its rapid development after 1960. Significantly, the history Celant wrote in 1972 is much broader than the overly simplistic Dieter-Rot-in-Europe-and-Ruscha-in-America origin myth of the artist’s book that has gained currency since. Besides Ruscha and Rot, Celant’s text emphasizes the early influence of John Cage but he also encompasses into the narrative such disparate or overlooked elements as the Zaj group in Spain and Arte Povera in Italy, as well as work related to Fluxus, Art & Language, Land Art, Pop, Minimalism, Conceptualism, etc. The bibliography includes books that range from the iconic to the virtually unknown by Vito Acconci, Carl Andre, Alison Knowles, Richard Hamilton, Piero Manzoni, Joseph Kosuth, John Latham, Andy Warhol, Bob Law, Yoko Ono, Michelangelo Pistoletto, Henry Flynt, Hanne Darboven, Dan Graham, Dick Higgins, Joel Fisher, Athena Tacha, John Stezaker, Gianfranco Baruchello, Jose Luis Castillejo, Sol Lewitt, Robert Morris, Stanley Brouwn, Edouardo Paolozzi, Bruce Nauman and Bruce McLean, to name just a few of the artists whose work is cited.

With this new edition it is possible to regain the perspective of 1972. It was a period when, as Celant describes it, the “the rules used for the identification of the art object were destroyed” and thus “medium became significant in itself.” Artists’ books were emblematic of the new multidisciplinary approach taken by the era’s avant-garde and, as that approach continues to be the predominant mode among artists working today, it is increasingly clear that artists' books have been, and continue to be, integral to the practice of art in the contemporary era.



[ótima dica do Guilherme Falcão, leitor deste blog)

Publicações de Artista


sexta-feira, 5 de novembro de 2010

Kamel Yahiaoui

Este trabalho faz parte da mostra do CCBB, em cartaz no Rio de Janeiro

quarta-feira, 3 de novembro de 2010

Sister Corita

Breaking A Habit: Sister Corita
Aaron Rose's Documentary On the Nun Who Stormed the Art World

A member of Los Angeles' Immaculate Heart Community, and long-time art educator and artist/printmaker, Corita Kent attained a position as close to that of a celebrity as any female artist, much less a nun, could expect to have achieved in the mid-60s. Her work tapped into that particular moment when the Catholic Church was invigorated by the challenge, set by Pope John XXIII in his Vatican II decree of 1962, to renew and rethink its traditions. Corita's work, fusing text and image, provided a visual narrative for this re-energized spirituality, particularly as it strove to engage people in their everyday lives. It also embraced social activism, independent of the strictures of the institutionalized (and, of course, male-dominated) Church. The silkscreen prints that surrounded me in grade school were joyful explosions of appropriated advertising slogans and logos in grocery-store colors — Pop Art reconfigured into messages centered on faith and spiritual joy. They were also aesthetic declarations of religious independence. (continue reading at The Design Observer)

Jesus never fails

Come Alive, 67


wideopen, 1964

These are Sister Corita’s rules at the Immaculate Heart Art Department (the original post here):

1. Find a place you trust and then try trusting it for a while.

2. General duties of a student: pull everything out of your teacher, pull everything out of your fellow students.

3. General duties of a teacher: pull everything out of your students.

4. Consider everything an experiment.

5. Be self-disciplined. This means finding someone wise or smart and choosing to follow them. To be disciplined is to follow in a good way. To be self-disciplined is to follow in a better way.

6. Nothing is a mistake. There is no win and no fail. There is only make.

7. The only rule is work. If you work it will lead to something. It’s the people who do all of the work all the time who eventually catch on to things.
8. Don’t try to create and analyse at the same time. They’re different processes.
9. Be happy whenever you can manage it. Enjoy yourself. It’s lighter than you think.
10. “We’re breaking all of the rules. Even our own rules. And how do we do that? By leaving plenty of room for X quantities.” – John Cage.

terça-feira, 2 de novembro de 2010

Annette Messager

Rumeur (Rumor), 2000-2004.
Fabric, pieces of plush toy, string.
Collection Marin Karmitz
© photo Marc Domage © Adagp

segunda-feira, 1 de novembro de 2010

Albert Mertz


Don't fall into water, 1981
oil on canvas, 70 x 70cm
imagem do catálogo da Dinamarca na XXI Bienal Internacional de São Paulo, 1991

Claudio Reston

Things that I believe about typography, vol. 4. Jan 2008.



Things that I believe about typography, vol. 1. Dec 2007.