My column for the October 2014 issue of ArtReview is about Jean-Michel Wicker, the French artist known for his scrapbooks, fanzines and other forms of printed matter. (Image: detail of flyer for Berghain, Berlin, July 2014, by Wicker Industries GmbH & Co. KG).
This exhibition at Artists Space in New York looks fantastic: “The Library Vaccine presents a number of discrete collections of books in order to sample art’s distinctive relationship to the book form in its singularity, and in its states of reproduction, distribution and accumulation. The exhibition addresses the book as a particular technology, and in its collective state of the private collection, reading room or library, as a social machine – registering social and personal histories, and articulating structures of knowledge and value through the relations between its parts.”
This is my column from the September 2014 issue of ArtReview, which explores the art of Aaron Flint Jamison – whose eccentric projects include Veneer magazine, and who is one of the people behind Yale Union, an equally eccentric art venue in Portland, Oregon. (Image: Veneer Subscription Table, 2008-11).
Seeing the young Angolan artist Edson Chagas in London as part of the group exhibition Journal at the ICA (until 7 September) reminds me of the fantastic project that he made in Venice last summer as part of the Biennale. In Venice Chagas represented Angola, and the pavilion, Luanda, Encyclopedic City, which was situated in the Palazzo Cini, won the Golden Lion for Best National Participation. (Image above: Edson Chagas, Found Not Taken, London, 2014).
Here is the text of my column from the Summer 2014 issue of ArtReview, which traces the development of the ‘normcore’ meme – from its origins in a trend forecasting report by the New York collective K-Hole. (Image shows an illustrated page from the report.)
The catalogue for Please Come to the Show has just been published by Occasional Papers. The project draws on the MoMA Library’s exhibition-related ephemera—invitations, flyers and posters, from the 1960s to the present—and the book includes new essays by Gustavo Grandal Montero, Will Holder, Antony Hudek, Angie Keefer, Clive Phillpot, David Senior and Suzanne Stanton. Edited by David Senior. See image gallery attached to this post. For my review of the exhibition see here.
"The art of Ray Johnson was rooted in his constant practice of correspondence. He dispersed a copious amount of collages and other printed matter through the mail to friends and colleagues. The Museum of Modern Art Library received materials in the mail from Ray Johnson from the 1950s until his death in 1995. This exhibition focuses on Johnson’s early printed materials, especially his promotional flyers for his work as a graphic designer and illustrator." Ray Johnson Designs is on display at MoMA, New York, from 2 July to 29 September 2014, and is organised by David Senior, Bibliographer, MoMA Library. See here.
Arcangel Surfware is a new clothing and lifestyle merchandise line produced by the Brooklyn-based artist Cory Arcangel. According to the press release, the products “consist of everything one needs to ‘chill’ in bed all day and surf the Internet in comfort: sweat pants, sweat shirts, bed sheets, pillow covers, iPad and iPhone covers, magazines, and music.”
"Semiotext(e) is widely known as the publisher that brought French theory to America. Initially a scholarly journal founded in the early ’70s by Sylvère Lotringer and others at Columbia University, Semiotext(e)’s reach expanded into the underground and downtown scenes, creating and reflecting affinities between high theory and experimental art, literature, and performance practices." For an interview with Hedi El Kholti, one of the current editors of the Semiotext(e), conducted by Lisa Darms and posted on Hyperallergic, on the occasion of a special presentation of Semiotext(e) at the Whitney Biennial in New York this spring, see here. (Image shows installation at the Whitney by the article’s author).