Poetry as Practice: not_I want you to roll over


Part of First Look: Poetry as Practice, copresented with the New Museum.

The Fall (2015)
View Work

not_I's The Fall (2015) presents a series of "erasures" of poems from Ana Božičević's second full-length collection Rise in the Fall (Birds, LLC, 2013), navigated using cursor scroll-overs and image overlays.

Ana Božičević and Sophia Le Fraga create and perform as not_I. They are the poetry faculty at BHQFU, New York.


Welcome to My Chronic Internet Freak-Out Syndrome


Left: AOL, about the time the internet and I first met. (Remember that sonorous modem music? The sound of the future!) Right: AOL now (yes, it's still there). With lotsa "headline news" on household health hazards, amazing pet stories, and shocking-yet-true dramatic personal episodes of total nobodies.



I should probably start with a brief, unflattering jaunt down memory lane—unflattering mostly to my old college buddy, the internet. See, I came of age as a graphic designer in the early 2000s, when the internet was a vastly different place—virtually (heh, virtually) unrecognizable. I'd only ever had an AOL email account. I'd never sent a text. MySpace hadn't even dethroned Friendster yet as king of social media (a term no one had ever heard), Facebook was still just a glint in young Zuck's eye, Twitter was a looong way off, and a camera phone was the must-have device du jour (bonus points if yours didn't have a little antenna you pulled out to get reception).


gif. jpg. png. tif. at HEREart


"gif. jpg. png. tif. (gjpt)," an exhibition currently on display at HEREart , explores the relationship between standardized digital image formats and visual representation. Curated by Jess Ramsay and featuring work by Jason Huff, Jordan Tate and Adam Tindale, Seyhan Musaoglu, and Giselle Zatonyl, the exhibition demonstrates how fully digital imaging has permeated visual culture. The works in the exhibition approach the pixel as a key structural component of visual representation, manipulating it to expose the formal characteristics of digital media.

Jordan Tate and Adam Tindale, Lossless, 2010.


Printer Resources for Independent Art Publishers Tumblr


For those involved with DIY art publishing, a number of artists, journals, and galleries have pooled together their resources to create a tumblr compiling Printer Resources for Independent Art Publishers. Bookmark it!

Originally via Collectionof


Little Caesar Magazine


Snippets below from Little Caesar Magazine, a literary journal/zine produced by Dennis Cooper from 1976 until 1982. Scans and pdfs of the original issues are available through Dennis Cooper's site.

Maybe we're crazy but we think there can be a literary that's loved and powerful. We want a magazine that's read by poetry fans, the rock culture, the Hari Krishnas, the Dodgers. We think it can be done, and that's what we're aiming at.

I have this dream where writers are mobbed everywhere they go, like rock stars and actors. A predilection? You never know. People like Patti Smith are subtly forcing their audiences to become literate, introducing them to Rimbaud, Breton, Burroughs and others. Poetry sales are higher than they've been in fifteen years. In Paris ten year old boys clutching well worn copies of Apollonaire's ALCOOLS put their hands over their mouths in amazement before paintings by Renoir and Monet. Bruce Lee movies close in three days. This could happen here.

Let us introduce ourselves. We're not fifty year old patrons of the arts. We're young punks just like you, and just because Kenneth Rexroth's got a name in some crowds doesn't mean a wink's gonna get his rickety old crap in here. He comes through the back door like everyone else.

- Dennis Cooper, 1978. Excerpt the introduction to Little Caesar #1

Rimbaud Crossword from Little Caesar #5 on Rimbaud

Interview with Andy Warhol by Gerard Malanga from Little Caesar #7

"Variations For Waking" by Jim Carroll from Little Caesar #3

Originally via East of Borneo


Interview with Daniel Pianetti of No Layout


No Layout is a new online platform for independent art and fashion publishers. While mainstream print publishers are struggling to address online content, making their magazines available through clunky PDF apps like Exactly or posting limited articles to their websites, no one has yet come up with a solution for the relatively niche market of independent art publications and zines. No Layout, started by Daniel Pianetti, provides a fully readable library of this print material. So far, their roster rivals that of a well curated museum bookstore or specialty shop, including gallerist Javier Peres' art mag Daddy, Swiss contemporary art journal der:die:das:, urbanism magazine Monu, small art zines like FPCF, and even historical publications like the avant garde journal 291 from 1915, to name a few of the 100 or so publishers available through the site. I spoke with Pianetti to find out more about the project.


Mister Modularity: Vittore Baroni, TRAX, And Network-As-Artwork


The concept of networked art, or art which relies on exchange and collaboration across great geographical distances, has had a rich history prior to the Internet's first rumblings (and is now, fittingly enough, being archived, reappraised, and 'blogged' all over that same Internet.) Unlike the "one to many" presentational modes of the museum, shop, or gallery, networked art pieces were comparatively intimate "one to one" experiences, absorbed by one recipient at a time. Whether we call the collected efforts of this culture "mail art," "correspondence art," or simply "networking," its history is unlike other 'art historical' narratives, insofar as few people feel qualified to act as a spokesperson for the admittedly varied intentions of other networked artists: there is an almost universal reluctance to promote oneself as the "head" of anything in this culture. Especially on the European continent, where the most radical art collectives (e.g. Surrealism) have splintered into warring factions while under the mismanagement of paranoid leaders, no one is particularly eager to waste their otherwise productive time on internecine squabbling about whom deserves what title. So, in these situations, those who are just the most enthusiastic about their work, and its place in a larger creative milieu, end up becoming "ambassadors" by default.

One such ambassador, Vittore Baroni, is an individual who makes introductory biographical surveys like this one such a daunting task: his work spans every conceivable medium from rubber stamps and "artistamps" [mock-'official' postage stamps] and stickers to novel fashion items, and his tastes run the gamut from sublime atmospheric music to graphics exhibiting an exaggerated 'comic book' sense of humor and horror. Other than a general disregard for the taxonomy of art genres, the defining characteristic of Baroni's artwork is the nurturing of paradox and contradiction (he tells me that "[the term] 'paradoxical' is for me a great compliment, and a very positive adjective.") However, I may be getting ahead of myself here, since Baroni disavows the word "artist" entirely. In an early manifesto for his TRAX 'networking project,' co-founded with Piermario Ciani and Massimo Giacon, Baroni demurs "we are not artists, because art is a word that means everything and nothing," and proceeds to apply this to more clearly defined creative categories: "we are not musicians, but we create sounds. We are not actors, but every once in a while we get on a stage. We are not writers or publishing houses, but we can print our own writings." So what exactly is Baroni - and who are "we"?


NY Art Book Fair 2010


A Young Kim, We Listen to Bach Transfixed Because This Is Listening to A Human Mind, 2010
(from the studio alabaster booth)

Printed Matter's annual contemporary art book extravaganza The NY Art Book Fair opened last night, and I dropped by today to take some shots of the festivities for the blog. Easily one of my favorite yearly art events in New York, the fair hosts an overwhelming amount of booths, lectures, screenings, performances, and more by 200+ participating independent publishers, booksellers, zinesters, and artists. The fair is at PS1 in Long Island City, it's free, and it will be open today until 7pm, Saturday from 11am-7pm, and on Sunday from 11am-5pm. Also, be sure to scroll down to the end of this post for a round-up of media art and digital culture-related highlights.

Booth for Swiss independent publisher Nieves Books

"You Are Her" a mini-exhibit of 1990s riot grrrl zines, organized by San Francisco's Goteblüd

Brooklyn-based Cinders Gallery's booth

Artist Sto Pit's Facebook at the Cinders Gallery booth

Editions by Trevor Paglen and Starlee Kine at The Thing Quarterly's booth

The third iteration of Dispatch's "RE: 1975-76 New York Art Yearbook" at the Dispatch booth
(Dispatch did another version of this project at No Soul For Sale at the Tate Modern, which we covered on Rhizome, here.)

Promotional prints for Laura Owen's book Fruits and Nuts at independent LA boutique Ooga Booga's booth

e-flux drew a thematic table of contents (of sorts) to all the essays published in their journal on the walls of their project space

Really gorgeous paper editions by Tauba Auerbach, at the Printed Matter booth

Another one of Tauba Auerbach's editions

Issues of Dutch magazine Open, which covers art and the public domain.

The art ...


FM Radio Map (2006) - Simon Elvins




Site-specific map plotting the location of FM commercial and pirate radio stations within London. Power lines are drawn in pencil on the back of the map which conduct the electricity from the radio to the front of poster. Placing a metal pushpin onto each station then allows us to listen to the sound broadcast live from that location.



Required Reading


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Blast 3 from 1993

Jordan Crandall is an artist and media theorist whose work deals with the cultural and political dimensions of new technologies. Between 1991 and 1995 he was the editor of Blast, a multimedia magazine that was initially published in a box format. Blast evolved alongside the popularization of the Internet, and much of its work occurred at the intersection of publishing, digital culture, and the production and distribution of art objects. This spring, Crandall spoke with Triple Canopy about the history of Blast, the nature of the magazine as a form, and the days of accessing bulletin board systems via suitcase-size modems.