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Studio Life—Diane Simpson
"Usually there’s something that hits me that I love about an image. And then I use the drawing process to change it into my own. The way I’m going to construct something really makes a difference in how the form changes. One of the things I struggle with is that I want the final product to be related to my initial source of inspiration in terms of retaining the excitement it gave me, but I don’t want the source to be conveyed literally."
From Studio Life by Sarah Trigg, available now.
ALSO - Don’t miss Simpson’s show at JTT gallery in New York City, up through December 15, 2013:
“Adam Lerner has probably written the most provocative story of our time about goofballs trafficking in modern art.”
—Mark Mothersbaugh, artist, musician and composer, cofounder of the new wave band Devo.
Artist unknown, n.d.
Oil on canvas, 31.5 x 25.5 inches
“An incredible story, Adam Lerner’s book beautifully illuminates the mysterious possibility of objects and the people and histories that they connect us to. A must read for anyone who loves art, spy novels, and the ineffable act of looking.”
—Dana Schutz, Artist
Artist unknown. In the style of László Moholy-Nagy, n.d.
Oil on canvas, 27.5 x 20.75 inches
One of our favorite comics in You’re All Just Jealous of My Jetpack by Tom Gauld, published this year by Drawn & Quarterly
Opening reception: Thursday, November 14, 7–9 pm
7–8 pm: conversation about the book with author Adam Lerner and Cabinet magazine’s Sina Najaf
8–9 pm: reception and book signing
Cabinet, 300 Nevins Street, Brooklyn, NY
In 2010, Adam Lerner, the director of the Museum of Contemporary Art Denver, did something unheard of in the museum world: he mounted a large exhibition of paintings without first knowing whether they were real or fake. Painted in the Suprematist and Constructivist styles of early twentieth-century Russian avant-garde masters, the 181 canvases had been acquired by amateur collectors Ron and Roger Pollard from a mysterious seller in Germany. The man, who they met on eBay, claimed that the paintings had been found in an abandoned shipping container held in German customs since the 1980s.
This event—which celebrates the publication of From Russia with Doubt, (Princeton Architectural Press)—Lerner’s book on the making of the exhibition and the stakes involved with showing unauthenticated artworks also marks the opening of an exhibition co-organized by MCA Denver and Cabinet featuring a selection of paintings from the Pollards’ collection. The evening will include a discussion with Lerner about the value of inauthenticity and the benefits of not knowing within the modern cultural institution.
Exhibition dates: November 18–29, 2013 (closed Thanksgiving)
Gallery hours: Monday to Saturday, 12–6 pm
Location: Cabinet, 300 Nevins Street, Brooklyn (map and directions here)
Organized by the Museum of Contemporary Art Denver and Cabinet
Our vintage-inspired Pocket Dept. notebooks are featured in New York Magazine this week as part of their “Best Bets/New Stuff” section! Available in a multi-pack and as individual 3-packs, they’re made to fit a range of pockets (shirt, pants, backpack, messenger bag). Start jotting down your on-the-go thoughts today.
The Masks (2002) by Gregory L. Blackstock
from Blackstock’s Collections: The Drawings of an Artistic Savant
(see also Notepads for List Makers)
Celebrating Le Corbusier’s birthday (October 6) and the onset of autumn in New York
A photo of LC at work, and a drawing he made to diagram the sun’s impact on a building through the seasons. From Le Corbusier and the Maisons Jaoul, published by Princeton Architectural Press.
Richard Hollis / through November 10
Artists Space : Books & Talks / 55 Walker Street
Not to be missed! Hollis is one of our favorite designers over here in the PAPress design dept. This survey of the seminal British graphic designer is long overdue - glad we’re able to catch it here in NYC.
Some Los Angeles Apartments, 1965 — Ed Ruscha
We’re big fans of Ruscha—check out Ed reminiscing about his sign painting days in the foreword to Sign Painters.
Bunker: Unloaded, Edizioni Periferia, 2003. From the PAPress Design Dept bookshelf.
A fascinating alternative approach to understanding art—includes 100 artists (painters, sculptors, photographers, video artists, and performance artists, among others) from the established to those beginning their careers. Artists include William Wegman, Pat Steir, John Baldessari, Carol Bove, Rashid Johnson, Peter Halley, Fred Tomaselli, Tony Oursler, Jim Shaw, Michelle Grabner, Tauba Auerbach, Theaster Gates, Dana Schutz, and David Altmejd, among many others. Available now.
Highlights from a collection of “typotecture” curated by Dick Sheaff. More typotecture and other ephemera here.
This “Red Cat Typography Pamphlet,” printed in 1992 in Vineburg, California, represents chapter 18 from Theodore Low De Vinne’s Correct Composition. First published in 1901, “Errors of the Press” describes the myriad ways things can (and do) go wrong in the publishing process, from author to bookbinder.
“Errors of the press is a convenient phrase, for it carries with it a vague notion that there is in the methods or machinery of printing a perverse tendency to the making of mistakes which are due more to the process than to the man. What is meant by the press is not clear: it seems to be a factor apart from the man, for it is seldom any helper of the press confesses that ‘the mistake is mine.’ … That no one should be held responsible for some forms of misprint (another convenient phrase) is a comfortable doctrine for the authors, compositors, and proof-readers who work with haste and negligence, for the press is inanimate and cannot respond. The silent are always wrong.”
From the Design Dept. bookshelf. (Fact: the De Vinne Press Building is around the corner from our office.)
Two specimens of large type in a facsimile specimen book, from the PAPress Design Dept bookshelf. A excerpt from the preface by Richard L. Hopkins:
Specimens from the A. W. Kinsley & Company of Albany, New York (1825–1831), are extremely rare and for that reason, have not had a lot of exposure to the fraternity of specimen book aficionados over the years. Prior to the discovery of the specimen used as copy for this facsimile, only three copies were known to exist—shuttered up in institutions. Two copies were at Columbia University, and a third at the California Historical Society. That is why it was especially gratifying to discover another very complete copy of this rare gem in 2000; that’s why a complete facsimile edition was considered necessary.… The quantity of large type is surprising for it is highly unlikely any of this type is wood type—that process was just being developed about this time (1828).