700 cans of condensed milk

A short review written on
Simon Brown’s
Shit That Excretes the Person
published by Paper Pushers
shortlisted for the
Art Gallery of York University’s
Artists’s Book of the Moment.

It is a small thin volume. The synthetic silver cover stock repels the ink  applied by letterpress, faint black excretions pool at the edges of the impression of   the title.  The binding glue is equally viscous, emerging suggestively from the slim space at the back of the book where spine and signatures meet. With its intimate dimensions, this book could slip easily into your breast pocket – or through the iron grate of a sewer. Read more.

Compulsive Browse

“You look at this, you look at that.”

The Compulsive Browse Colloquium | Curator: Dr. Rebecca Duclos
Concordia University, Montréal, February 18-20, 2011

As a contribution to the colloquium conversation, a reading of a research trip to Vancouver, in search of a collection of underground magazines at Simon Fraser University, was performed. Printmaker Étienne Tremblay-Tardiff, played the part of Vancouver.

Byproduct

Edited by Marisa Jahn
Published by YYZBOOKS & REV-
Fall 2010
ISBN: 978-0-920397-51-0
192 pages softcover, two colors
Design by Ryan Hines
Distribution: LitDistCo & Distributed Art Publishers (D.A.P.)

Byproduct: On the Excess of Embedded Art Practices presents texts from a variety of artists, activists, curators, and interdisciplinary thinkers that interrogate projects by cultural practitioners ‘embedded’ in industries, the government, and other non-art sectors. Working with the physical systems and symbolic languages of these institutions, these cultural agents develop projects – or ‘byproducts’ – that produce meaning contingent on their hosts. Whether the works are explicitly polemical or instrumentalized by their hosts is up for debate…

CONTRIBUTORS
A Constructed World, Au Travail / At Work, Tejpal S. Ajji, Allan Antliff, Paul Ardenne, Grant Arnold, Gina Badger and Adam Bobbette, IAIN BAXTER&, Claire Bishop, Lawrence Bogad, Andrew Boyd, John Seely Brown, Ian Clarke, Etienne Turpin and DT Cochrane, Maureen Connor and Kadambari Baxi, Joseph del Pesco, Connor Dickie, Peter Eleey, democratic innovation (Kent Hansen), Kate Henderson, Reverend Billy (William Talen and Savitri D.), Luis Jacob, Michelle Jacques, Janez Janša, Janez Janša, Janez Janša, Tomas Jonsson, Lev Kreft, Michelle Kuo, Adam Lauder, Kristin Lucas, Steve Mann, Experiments in Art and Technology, Lisa Larson-Walker, AntanasMockus, Amish Morrell, Joshua Moufawad-Paul, Mammalian Diving Reflex (Darren O’Donnell & Natalie De Vito), Ingrid Baxter Ovesen, Michael Page, Kathleen Pirrie-Adams, Pedro Reyes, John Searle, Michel Serres, Matthew Soules, Barbara Steveni (Artist Placement Group/O+I), Felicity Tayler, The Yes Men, Vincent Trasov (Mr. Peanut), Camille Turner (Miss Canadiana), Merve Ünsal, Pauline van Mourik Broekman and Josephine Berry, Stephen Wright.

Traffic : Conceptualism in Canada

International Conference at the University of Toronto
Presented by the Justina M. Barnicke Gallery | 26-28 November 2010

Abstract: Constellation and Correspondences : Networking Between Artists, 1970-1980

Independent publishing by artists paralleled experimentation in electronic media, such as video, from 1970 to 1980. Artistic practices became increasingly ephemeral and performative, as they were no longer tied to a physical place a key concern was distribution through alternative networks. Printed matter served as a means for information transmission between artists and could be considered a significant contributor to the early development of parallel galleries in Canada. In his mythic narrative, AA Bronson refers to publishing as the “connective tissue” in the emerging trans-Canada art scene. Documents (correspondence, newsletters, magazines, artists’ books and other ephemera) were the platform for the communication of art, ideas and affinities across the geography of the country and beyond national borders. What drew together this constellation of disparate elements that correspond through space and time? Continue reading

An Interview with curator and CRUMB co-founder Sarah Cook

This interview was conducted in Ottawa, May 2010 by Felicity Tayler and Corina MacDonald for artengine.ca

What can curators of contemporary art learn from the distributed and participatory systems of new media art? Sarah Cook and Beryl Graham, co-founders of CRUMB (The Curatorial Resource for Upstart Media Bliss, www.crumbweb.org), are the authors of the recent volume Rethinking Curating: Art After New Media (MIT Press). While in residence at SAW video in Ottawa, Sarah Cook took a pause from a flurry of activity to expand upon concepts evoked between the covers of the book and during her presentation at the National Gallery of Canada. As Nathaniel Stern observes in his review (http://rhizome.org/editorial/3617) of this collaborative work (authored with drafts exchanged via email and Wiki), the number of examples and citations provide a provocative constellation of possibilities. They argue that the connectivity of new media art challenges default modes of artistic authorship and curatorial operation and points towards new metaphors and modes of curating as a distributed activity. Read more.