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In 2008, ART2102 is collaborating with new generations
of alternative spaces in Los Angeles by providing a non-institutional
structure and framework to support their initiatives. ART2102
will extend its status as a non-profit and beneficiary of
grants to several of these smaller experimental spaces,
while generating and increasing their exposure through ART2102's
communication networks and support systems. It is an effort
which aims to expand ART2102's activities beyond the more
traditional forms of exhibition and other curatorial projects.
More about the 2008 Program
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FOR IMMEDIATE RELEASE IMMEDIATELY RELEASE ME
January 16, 2008
What words for what then? *
Inspired by publications such as Documents, ZG, and REALLIFE
Magazine, MATERIAL emerges as a contemporary outlet for
the artist’s voice.
Started by artists interested in the writings of other
artists, MATERIAL supports visual artists with textual concerns.
MATERIAL is not a thematically driven nor ‘on-topic’
publication, but rather an image-free, ad-free context for
the materialization of artists’ ideas, divergent opinions,
thoughts, and appropriations of language. Our sensibility
is experimental and critical. We solicit friction and conviviality
both.
The editorial board for MATERIAL is made up of artists
who make writing a central part of their practice: Thomas
Lawson, Olivier Richon, John Stezaker, Jonathan Miles, and
Dorit Cypis.
Issue One features texts by international artists:
| Hirsch Perlman: |
‘Squash and Stretch’ |
| Olivier Richon: |
‘A Devouring Eye’ |
| Becky Beasley: |
‘Feather Block’ |
| |
‘Of Other Potentialities: The Inhabitable, Inhospitable
Object |
| Nicholas Grider: |
‘Culture: A User’s Guide’ |
| Olivia Booth: |
‘Glass’s Frayed Edge’ |
| Marie Jager: |
‘Free Time’ |
| Peter Kirby: |
‘O.E.D: Addendum’ |
| Darren O’Donnell: |
‘The Social Impresario’ |
| Katrina Palmer: |
‘Spoiled Wooly Stuffing’ |
| Charlotte Smith: |
‘Preface of the Fictional Academic Publication/Text, |
| |
‘[Subject], a fictional academic publication/text
on the subject of’ |
| Andrea Büttner: |
‘Do something that is easy to do...’ |
| Roman Vasseur: |
‘John Stuart Mill Exterminates His Father’ |
No thought exists without a sustaining support.
**
Designed by 3n17 in Berlin, the journal encourages tactile
handling; it is printed and folded for maximum utility on
Alster Werkdruck paper, and opens in tri-fold. Printed in
an edition of 1000, more or less biannually, MATERIAL will
be available in Los Angeles at Bank Gallery, in London at
Man&Eve Gallery and Laura Bartlett Gallery, in San Francisco
at the Silverman Gallery, and the list is growing; check
the website for more locations soon: www.materialpress.org.
Independence is an unrealistic construct.
Independence is an unrealistic construct that
relies on bravado and many forms of denial. We are all dependent
in some way—it is simply a matter of who or what one
would like to become dependent on. MATERIAL would like to
be dependent on writing and artworks and the people who
love writing and artworks. MATERIAL aims to be self-funded
by offering limited editions of visual work that engage
the textual.
For our inaugural issue, we are offering a series of editions
by nine international artists: Marie Jager, Becky Beasley,
Nicholas Grider, Arthur Ou, Augusta Wood, Katie Lewis, David
Raymond Conroy, Duncan Wooldridge and Jacob Melchi. The
artists involved have all generously donated work to MATERIAL
to fund its continued operations. We are offering these
works much below market value to encourage collectors to
support the journal as an emerging space for experimentation.
These works are available for purchase at the launch parties
at Man&Eve in London and Monte Vista in Los Angeles,
and on our web site: www.materialpress.org.
Editors’ Bios
Kim Schoen received her MFA in Photography from the California
Institute of the Arts in 2005 and recently completed a Masters
of Philosophy in the Photography Department at The Royal
College of Art in London. Recent exhibitions of her photographs
and video installations include ‘A Series of Catastrophes
and Celebrations’ at Bank (solo show, Los Angeles),
‘Beyond Image: Photography and Contemporary Art’
at The Armory (Los Angeles), and ‘Body/City’
at Dublin Docklands (Dublin). Kim was recently selected
for the Artist Pension Trust in Los Angeles. She will be
showing with Man&Eve in London in 2008 and is represented
by Bank in Los Angeles.
A native of South Carolina, Ginny Cook received her BA
in Art History from Emory University in 2000 and her MFA
in Photography and Media from the California Institute of
the Arts in 2005. Recent exhibitions of her work include
‘Natural Geographic’ at Norma Desmond Productions
(Los Angeles), ‘International Waters’ at Steven
Wolf Fine Arts (San Francisco), ‘Ginny Cook: Shapes
for wanting images’ at South La Brea Gallery (Los
Angeles), and the 2004 Festival Universal de Sonido, Imagen
y Ondas Nuevas (San Jose, Costa Rica). She makes art, writes,
and teaches photography in Los Angeles.
*Samuel Beckett, Worstword Ho, 1983
**Mel Bochner, epigraph to a preparatory sketch for his
inscribed wall drawing Theory of Boundaries, 1969-70
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This event is made possible in part by the generous
support of the Andy Warhol Foundation for the Visual Arts.
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