This book aims to shine light on work of women in type.
The first part of the book offers research on the gender issue in type design field. It includes statistics, data and an overview of some works that address this issue. Further it contains some biographies of female type designers that worked in the 19th and in the beginning of 20th century. These women contributed to the industry, yet they are rarely mentioned in educational material.
The second part is a series of the interviews with 14 women that are either currently working as type designers or are in any other way involved in the field of type design. These interviews intend to uncover the topic of unequal share of female and male speakers at type conference as well as the lack of women in the industry. The last part of the book is a showcase of typefaces designed by women. The purpose of this part is to show the great amount and broad variety of such typefaces.
Interviews with Designers: Gayaneh Bagdasaryan, Veronika Burian, Maria Doreuli, Louise Fili, Martina Flor, Loraine Furter, Jenna Gesse, Golnar Kat Rahmani, Indra Kupferschmid, Briar Levit, Zuzana Licko, Ana Regidor, Fiona Ross and Carol Wahler.
Art, Engagement, Economy: the Working Practice of Caroline Woolard proposes a politics of transparent production in the arts, whereby heated negotiations and mundane budgets are presented alongside documentation of finished gallery installations.
Readers follow the behind-the-scenes work that is required to produce interdisciplinary art projects, from a commission at MoMA to a self-organized, international barter network with over 20,000 participants. With contextual analysis of the political economy of the arts, from the financial crisis of 2008 to the COVID pandemic of 2020, this book suggests that artists can bring studio-based sculptural techniques to an approach to art-making that emphasizes interdisciplinary collaboration and dialogue.
Foreword by Patricia C. Phillips; introduction by Caroline Woolard; texts by D. Graham Burnett, Alison Burstein, Stamatina Gregory, Larissa Harris, Leigh Claire La Berge, Stephanie Owens, Cybele Maylone, Steven Matijcio, Sheetal Prajapati, Caitlin Rubin, Gabrielle Lavin Suzenski, and Caroline Woolard; interviews by Thyrza Nichols Goodeve and Tina Rivers Ryan.
Diagrams of Power
We draw diagrams to help us think, communicate and put forth what we think is important or what we want to be true. While some diagrams are seen as statements of fact, they can also further agendas by discounting other realities beneath a cloak of perceived objectivity. Diagrams of power work against representations that claim omniscience by speaking from a position, and making visible what and who gets represented and who does the representing. They also make us consider how we create and maintain relations between producers and receivers of particular forms of knowledge.
Diagrams of Power: Visualizing, Mapping, and Performing Resistance, brings together the work of designers, artists, cartographers, geographers, researchers and activists who create diagrams to tell inconvenient stories that upset and resist the status quo.
Edited by Patricio Dávila. Words and works by Joshua Akers, Burak Arikan, Josh Begley, Joseph Beuys, Alexis Bhagat, Vincent Brown, Bureau d’Études, Teddy Cruz, Department of Unusual Certainties, Peter Hall, Alex Hill, W.E.B. DuBois, Patricio Dávila, Catherine D’Ignazio, Forensic Architecture, Fonna Forman, Terra Graziani, Iconoclasistas, Lucas LaRochelle, Eliana MacDonald, Julie Mehretu, Lize Mogel, Ogimaa Mikana, Margaret Pearce, Laura Poitras, Philippe Rekacewicz, Sheila Sampath, and Visualizing Impact.
ANOTHER VERSION: Thinking Through Performing
This book approaches performance as a method of producing different versions of the self, referred to as ‘versioning’. It explores technologies and processes that produce such versions, and asks the question of how to understand the self within this multiplicity. ANOTHER VERSION: Thinking Through Performing proposes strategies of versioning as a means of attaching gesture, speech or lived experience to research questions or problems.
It is comprised of 7 cahiers containing games, scores, short stories, images, quotes and reflections that are often products of collaborative practices. Each cahier opens up a particular territory or lens, indicated through its title: CAHIER I Multiplicators, CAHIER II Pandiculators, CAHIER III Arena, CAHIER IV Objectaffilia, CAHIER V Animalities and CAHIER VI Ledger.
The content of each cahier is structured into eight categories: conversation, image as score, notes, quote, reference text, report, score and short story. These can be used as the reader/user sees fit, a story, an image or a quote can be used as a score, a score can be reversed or a reflection can be cut up and transformed into a new text.
Cahier 0 reflects and expands on the content of the publication and the research from which it springs. It contains a conversation Multiplicity, Multiplicators and the Supermarket Scorebetween Philippine Hoegen and Sebastian Olma, and an essay Ecstatic Methods — Seven Vectors Addressed to Philippine Hoegen by Kristien Van den Brande.
Also Space, From Hot to Something Else: How Indonesian Art Initiatives Have Reinvented Networking
This book focuses mainly on the Jakarta-based artists’ initiative ruangrupa, and to a lesser degree on a number of other Indonesian artists and initiatives, as case studies of how Indonesian artists organise and manifest themselves individually as well as collectively.
Although contemporary art in Indonesia is completely integrated within the global art discourse, the fundamental context of Indonesian artists is in fact quite different from that of the contemporary Western artistic practice, in which notions of individuality and ‘autonomy’ play a key role. This perspective, at least in its current manifestation, is based on a neo-liberal worldview focused more or less entirely on the pursuit of individual success.
However, what is often missing from this perspective is an awareness of local networks, and a contextual (as opposed to purely conceptual) way of thinking and acting.
Indonesian artists’ initiatives, on the other hand, tend to think and work from the perspective of the communities of which they are already a part. This is quite different from the Western notion of ‘community art’, as it addresses fundamentally different approaches to community and networking.Indonesian artists work from an understanding that they are organically and inevitably connected to various networks, whereas Western artists tend to proactively seek out and connect to networks from an individualist position.
Recurring themes also include the author’s ongoing efforts in formulating proposals of a ‘(g)Locally Embedded Art Practice’ (‘gLEAP’) and of the ‘also-space’ as approaches to re-evaluating the production and positioning of artists. How can we develop an artistic practice that does not define itself as ‘alternative’ or ‘in opposition’ to the society in which it exists, but rather as an integral part of the various communities in which the artist functions, produces and lives, and is thus very much a part of?
Featuring: Ruangrupa, Lifepatch, JAF, Jatiwangi Art Factory, Moelyono, Wok the Rock and others.
Author: reinaart vanhoe
Field Essays – “Éloj Kréyol” (Creole Praise)
meanderings in the field of decolonial design
In this fourth edition of Field Essays we explore the specific decolonial and tactile research approach in the work of Paris-based design-duo dach&zephir. Convinced of the symbolic act of transmission and the gestures objects convey they zoom into the historic making of identity.
Field Essays’ centrifugal node Sophie Krier follows upon their ongoing research Éloge Créole, Chapitre 2, Escale 1 in which they interweave creole histories and archival footage from the island of Martinique. Krier invited writer and curator Lucy Cotter to reflect on the ethics of cultural exchange and how the unknown in collaborative making might generate new ways of thinking. The art historian Thomas Golsenne was also invited to analyse their work through the lens of ‘Bricologie’, the (non)science of mending and re-composing. From the island’s perspective, the Martiniquansociologist and poet André Lucrèce speaks about the lasting (mental) hierarchies that persist to this day.
Field Essays takes an editorial approach to practice-based research. It functions as a living conversation platform that explores peripheral practices probing unknown territories, methods and works. This way, Field Essays articulates living practices today. Field Essaysis a research platform lead and initiated by artist/researcher Sophie Krier and is hosted by Onomatopee Projects
Field Essaysis a research platform lead and initiated by artist/researcher Sophie Krier and is hosted by Onomatopee Projects. This edition of Field Essaysincludes the visual work of Paris based design-duo dach&zephir, visually reframed by graphic design studio Inedition, as well as written contributions by sociologist and poet André Lucrèce, art historian Thomas Golsenne and writer and curator Lucy Cotter.
And then the doors opened again – 90 Kr
Who Told You So – 150 Kr
Atlas of Agendas – 300 Kr
Ideas and Thoughts – 75 Kr
No Internet, No Art – 186 Kr
It Had Something To Do With – 40 Kr
Can You Hear Me – 115 Kr
The Magic Circle – 112 Kr
Can You Feel It – 130 Kr
Alien Invader Super Baby – 172 Kr
A Man, A Village – 165 Kr
Post Butt – 135 Kr
Touche a Tout – 260 Kr
The Standard Book – 142 Kr
Move Along – 130 Kr
Sense & Sensibility – 90 Kr
Porno-graphing – 75 Kr
One to One Reader – 210 Kr
A Cookbook of Invisible Writing – 210 Kr
Back Stages – 210 Kr
Copy this Book – 210 Kr
The Great Ephemeral Skin – 210 Kr
Entreprecariat – 210 Kr
Echoing Exhibition Views – 130 Kr