“It’s like the more shit it is as clothes, the better it is as art. The first dresses I made were from a $2 fruit printed table cloth and a tube of builder’s silicon. But it is hard to keep being shit. The clothes have started to look like clothes, which is totally obvious and boring. I sound like Piccaso wanking on about trying to draw like a child again.” JH

Photos by Yuna Lee

Printed in an edition of 300

$35

ISBN: -
Publisher: Werkplaats Typografie / ArtEZ
Format: 210 x 297 mm, 102 pages

Between 1969 and 1974, the influential curator Lucy Lippard (born 1937) curated four decisive Conceptual art exhibitions, and in doing so reinvented the exhibition catalogue. 4,492,040 is a facsimile reprint of the extremely scarce and hugely important catalogues produced for those exhibitions: 557,087 (the Seattle Art Museum), 955,000 (the Vancouver Art Gallery), 7,500 (the California Institute of Art) and 2,972,453 (the Centro de Arte y Comunicación). Titled after the populations of the cities in which the shows were held, each catalogue was an envelope of loose note cards containing statements, documentation and conceptual works by each artist, to be rearranged, filed or discarded at will. If Lippard described Conceptual art as the dematerialization of the art object, these catalogues effectively announced the dematerialization of the art exhibition. (One reviewer claimed Lippard had been the artist, and that her medium had been other artists.)

4,492,040 includes such iconic figures as Vito Acconci, Carl Andre, Siah Armajani, Terry Atkinson, John Baldessari, Michael Baldwin, Robert Barry, Rick Barthelme, Daniel Buren, Rosemarie Castoro, Hanne Darboven, Walter de Maria, Jan Dibbets, Christos Dikeakos, Eleanor Antin, Dan Graham, Hans Haacke, Eva Hesse, Douglas Huebler, On Kawara, Edward Kienholz Sol LeWitt, Roelof Louw, Duane Lundon, Bruce McLean, Robert Morris, N.E. Thing Co., Bruce Nauman, Adrian Piper, Allen Ruppersberg, Ed Ruscha, Richard Serra, Robert Smithson, Jeff Wall and Lawrence Weiner.

Publisher: New Documents
Format: 105 x 150 mm, 460 individual cards

A glossary of texts and terms generated in and around the Goldsmiths Art Writing MFA seminars at the Whitechapel Gallery 2011/2012.

Contributions from Ed Atkins, Hannah Black, Federico Campagna, Joseph Fletcher, Mandi Goodier, Rebecca LaMarre, Julian Lass, George Major, Amélie Mourgue d’Algue, Mary Rinebold, Maru Rojas, Daniel Rourke, Liv Schulman, Beatrice Schulz, Linda Stupart and Iris Tenkink.

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ISBN: 978-0-9570294-3-9
Publisher: The Art Writing Guild
Format: Paperback, 65 x 102 mm, 134 pages

What actually happened on this day?
Did collectively become a possibility again?
Did GDR memories get re- investigated without getting nostalgic? And what was the effect of the cameras on the experience of the people present?

All participants and collaborators were asked to describe a small part of their experience of that day from the ‘I’ perspective. Like this a collective writing was created, consisting of 50 ‘I’s that responded to this request: a subjective body of memories, associations and relations, which reflects the repetitions and contradictions of the event.

$30

ISBN: 978-94-90294-42-7
Publisher: DAI
Format: 170 x 240 mm, 56 pages

The title of this book and the exhibition it documents—Sounds Like Silence—is ambiguous. On the one hand, silence effectively “sounds”—or as Cage put it, “There is no such thing as silence.” On the other hand, sound needs silence in order to be heard. Even if complete silence does not exist, every sound implicitly conveys the notion of silence: there is no presence without absence. The double meaning of Sounds Like Silence therefore touches upon the central issues at stake in this project: what do we hear when there is nothing to hear; to what extent do we long for silence; and how much silence can we cope with—provided it even exists?

John Cage’s 4’33” (four minutes, thirty-three seconds) premiered on August 29, 1952. This book presents new theoretical writings and artistic works referring to this groundbreaking work, together with original scores and the composer’s own variations, derivatives, and sequels of the “silent piece” in the years from 1962 to 1992.

ISBN: 978-3-940064-41-7
Publisher: Spector Books
Format: 240 x 335 mm, soft cover

A Circular 2 is edited by Pedro Cid Proença and features David Antin on Real Estate; a trio of short loops on song and sound by David Morris; Richard Hollis on Flags, Stars and Signs; Pedro Neves Marques on 1972; Dieter Roth’s Trophies Rotated by James Langdon; Patrick Coyle fake fancying, feigning, forging; an extract of Fugue by Roger Laporte; Wayne Daly and Sean Lynch in conversation; Adrian Piper’s To Art (Reg. Intrans. V.) and another instalment of Will Holder’s Middle of Nowhere.

ISBN: -
Publisher: A Circular
Format: Softcover, 210 x 265 mm, 96 pages

A Circular #1 – Summer 2011 was edited and designed by Pedro Cid Proença and Alfonso Martins.

It includes the following:

The Chair of Decency by Stefan Themerson

Never Odd or Even by Fay Nicolson

Under the Counter-Culture by Robin Fior

The Impostor by Nathanael West

Open Letter to Monotype by Open Source Publishing

A Knight in the White House, A Quarrel with a Post

Marxist by Mathew Whittington

Middle of Nowhere (continued) by Will Holder

Notes of intention for a letter to the film by Maël

Fournier- Comte

Throwing A Rubber Band in the Air by Xavier Antin

ISBN: -
Publisher: A Circular
Format: Softcover, 150 x 214 mm, 112 pages

Freedom has its limitations. While a visual culture of revealing liberties is in the forefront, concealed images barely draw any public interest: simply because their subject is hidden and their existence is non-existent in the public eye. But who is concerned with the ‘redaction’ of concealed documents and why is this so important?

Solo show and publication by Renée Ridgway

Since 1980 anyone in the Netherlands can request disclosure of information and documents controlled by the government institutions with the WOB (The Freedom of Information Act, (FOIA). The WOB makes public access possible to government records, archives and documents, in the form of paper records; not all files are digitalized yet.

Artist Renée Ridgway searched the archives of Buro Jansen & Janssen, an investigation agency that critically follows the police, judiciary and intelligence services and uses the WOB as one of its research tools. Taking a critical stance on governmental policies and actions, Ridgway selected various files to be turned into readymades of political aesthetics. These A4s are palimpsest, remnant texts merging into newly created and visually poetic images.

This project pragmatically explores the actual conduct of these redacted documents. In diverse reflections, Freek Lomme, Renée Ridgway and Simon Ferdinando trace the capacity and relevance of this artistic turnover whilst Rick van Amersfoort of Buro Jansen & Janssen positions the practical implications of the WOB.

To uncover the politics involved in communication requires a game of hide and seek. The revelation of concealed data might very well both acknowledge and extend our understanding of rights and wrongs, leading us to an image of the political. As a counterpart to this power, this display allows a possibility to not only reveal the concealed but to reaccess its implications.

$25

ISBN: 978-90-78454-82-3
Publisher: ONMATOPEE
Format: 32 pages, stabled, Black/white with thermo ink silkscreen layer on cover, Printed at Lecturis

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ISBN: 978-0-9569623-1-7
Publisher: Occasional Papers
Format: 17 x 25cm, 296 p., soft cover, black and white

This book is the first since the early 1970s devoted to the extraordinary British Benedictine monk, scholar, translator, concrete poet and artist Dom Sylvester Houédard (1924–92). Edited by Nicola Simpson, with new essays by Gustavo Grandal Montero, Rick Poynor, David Toop and Charles Verey, Notes from the Cosmic Typewriter offers a broad and richly illustrated introduction to this major artistic and theological figure.

Besides many of Houédard’s ‘typestracts’ – the concrete poems produced entirely with his Olivetti typewriter – this book also includes examples of his lesser-known ‘poem-objects’, a selection of key texts, as well as never-before-published performance scores. In both his spiritual views and artistic output, Houédard stands out as a model of insatiable curiosity, building around him a vast network of enlightened poets, visual artists, performers, musicians and thinkers of all faiths and walks of life.

$45

ISBN: 978-0-9569623-3-1
Publisher: Occasional Papers
Format: Paperback, 18.5 x 26.5cm, 192 p., 48 pages in full colour