Bøger udgivet af Artbook D.A.P.

Cheap, disposable, often with poor audio quality but with great visuals, flexi discs were vinyl's poorer cousin in the pre-digital age. Given away with magazines or sent out by advertisers, they were a splashy way of getting your message heard. Pressed onto laminated card or thin, wobbly plastic, these discs extolled the virtues of washing powders, beers, and banks. This book brings together over 150 of the most remarkable British flexi discs from the 1950s to the early 1990s, chronicling the varied and sometimes bizarre uses of these flimsy records, and the result is a fascinating archive of post-war design and advertising ingenuity. Wobbly Sounds is part of the Four Corners Irregulars, a series about modern British visual culture.

In the revolutionary fervor of 1968, activists beat a path to London's Poster WorkshopFrom 1968 to 1971, anyone could drop in to the basement in Camden Town, London, and commission a poster from the Poster Workshop. In walked workers on strike, tenants associations, civil rights groups and liberation movements from all over the world. Inspired by the Atelier Populaire (protagonists of May '68), the workshop created posters that could be made quickly to respond to what was needed, on a great number of themes: Vietnam, Northern Ireland, South Africa, housing, workers' rights and revolution. The Poster Workshop existed at an exceptional time. It thrived on the energy generated by the belief that huge changes were possible, through movements for equality, civil rights, freedom and revolution. The posters made there show the extraordinary diversity of those who came to the workshop and provide a microcosm of much that was happening nationally and internationally.Including many unseen and previously unpublished screen prints by 1960s activists, this book gives a unique perspective on the key political issues of the 1960s as told through the protest posters of artists and activists.

Social media handles before the internet: a window into a unique subculture that prefigures online identitiesThe late 1970s and early 1980s was the golden age of British Citizens Band (CB) radio. Legal to own but illegal to operate, a CB radio and an antenna could connect you to other users nearby, creating a community for anyone with a rig and a desire to shoot the breeze. Entirely social, separate from the more technical HAM radio scene, CB radio was for everyone.The reach of the average set was only a few miles, but each local area had "breakers," figures who would crossover the conversation into the next area and link ever-expanding social circles.Every breaker had a "handle," a pseudonym they used to identify themselves on air. These alternate identities could be amusing, fantastical, dark or bawdy, but they were always personal. Many breakers took this identity one step further and made business cards to exchange when they met up in person--Eyeball cards. With the Eyeball cards, the alternate identities and communities of the CB radio scene were made physical. This publication, presenting hundreds of the funniest, strangest and most intriguing Eyeball cards from across the UK, is the first to document this unique subculture. The result is a window into an outpouring of creativity that prefigures online identities--social media handles before there was even an internet.

Norwegian artist Siri Aurdal (born 1937) achieved prominence in her home country during the 1960s and '70s with works that encouraged public participation. An interest in mathematics moved Aurdal to devise modular forms that could be reconceived for a range of sites, not only in the galleries and museums where they were initially exhibited. These works included installations made of common materials like Plexiglas or large-scale sinusoidal sculptures made of industrial tubes. The reproductions in this artist's book include installation views, slides, drawings, collages, portraits and ephemera from the 1960s to 2016, highlighting many pieces that have never been exhibited or are no longer in existence. Aurdal collaborated with Norwegian artist Eline Mugaas on an exhibition at Kunstnernes Hus, and Mugaas extended their collaboration into book form, assembling this catalogue-cum-artist's book. It gives a kaleidoscopic representation of Aurdal's past ventures, her archive and her current studio work, lyrically arranged by Mugaas.

An artist's book presenting a photographic study of onionsOn Onions is a photographic study of onions by Israeli-born artist Elad Lassry (born 1977). Characteristically highlighting the spectrum of hues and shapes for the vegetable, Lassry's selected taxonomy includes sections on red, yellow and white onions, each of which possesses its own distinct taste and benefits. On Onions is Lassry's first artist's book, and the work will exist only in book form; it is at once wry, refreshing and disorienting in its biology workbook style, which makes fruitful use of "the confusion that results when there is something just slightly wrong in a photograph" (as the artist has described his practice in general). Composed by the artist and arranged by Stuart Bailey, the book includes an essay written by Angie Keefer about the effects of sliced onions on human tear ducts.

Since its formation in 1987, Critical Art Ensemble has set out to explore the intersections between art, critical theory, technology and political activism. The award-winning group of tactical media practitioners has exhibited and performed in a variety of venues internationally, from the street to the museum to the internet. Disturbances is the first book to assess the group's 25-year history, examining the environmental, political and bio-technological themes of their various initiatives.In the publication, each project is presented by the group itself, from their early live multimedia productions; to their development of models of electronic civil disobedience, digital resistance, and contestational biology and ecology; to their most recent tactical media projects.Disturbances is a landmark handbook for activists in art, theory, science and politics.

A leading figure of the 1970s and 80s downtown New York performance scene, Constance DeJong has channeled time and language as her mediums for the last four decades. The artist's experimental prose, multimedia spoken text works, recitational performance, and digital and media art projects expand the possibilities of narrative form, literary genre and technological interactivity. This reader is the first anthology to collect DeJong's writing to date. Including out-of-print experimental short fiction such as the 2013 publication and performance SpeakChamber, the book also features numerous scripts for performances such as Relatives, a duet between a television and a performer made in collaboration with artist Tony Oursler. Spanning text for disembodied voices emanating from reengineered radios, sound pieces, video works and public art commissions, this anthology gathers DeJong's contributions to language and media art in all their forms.

An experimental novella about the bounds of the self and the many forms of embodied expressionWhere does your body end and the world begin? How do you locate the limit between your self and others? A Rock, A River, A Street follows a young, Black woman who lives at the hazy border between Brooklyn and Queens in the not so distant present. As she rides the subway, walks around her neighborhood, visits the doctor, watches movies, attends dance class and tries to heal her body, we are brought into her conflicted relationship with language, as she recalls formative experiences from her childhood and absorbs the world around her. Acutely conscious of the soft, responsive nature of her physical self, and pushed and pulled by forces she cannot control, the narrator is vulnerable, terrifyingly open. Everything and everyone leaves an impression. Brooklyn-based artist Steffani Jemison (born 1981) moves deftly across narrative genres and styles in this novella, as she interrogates the boundedness of the self, the possibilities of plurality and the limits of performance.

''The All Night Movie is the story of my life told in words, painted images and photographs." -Mary HeilmannCreated by Mary Heilmann in 1999, The All Night Movie beautifully wraps a memoir inside a monograph, creating an artist's book in which each page is designed as though it were a painting. The artist delicately utilizes color, text, candid photographs, reproductions of paintings and song lyrics that unfold seamlessly to create an immersive visual experience. Across eight chapters, Heilmann recounts her life, from her childhood in California through New York in the 1990s, providing intimate insight into the development of her work, friendships and formative life experiences.Snapshots by the artist and others provide a portrait of Heilmann's evolving artistic community, which included Gordon Matta-Clark, Pat Hearn, Dicky Landry, Jack Pierson, Keith Sonnier, Pat Steir, William Wegman and Jackie Winsor, among others. And this is just the first half of the book: included with the artist's memoir is an essay by Jutta Koether and a survey of paintings from 1972 to 1999. This highly revered and extremely scarce publication was codesigned with Mark Magill and is reproduced here as a facsimile edition. The All Night Movie was originally published by Hauser & Wirth and Offizin Verlag.Mary Heilmann was born in San Francisco in 1940. She studied at the University of California at Santa Barbara, San Francisco State University and the University of California at Berkeley before moving to New York in 1968. Heilmann began her career creating sculptures and moved into abstract painting once on the East Coast, experimenting with bright colors and unusual geometries that bridge two-dimensional and three-dimensional elements. She has been the recipient of the Anonymous Was A Woman Foundation Award, as well as a Guggenheim Foundation award.

In the late 1990s, American comic artist Michael Kupperman bought a stack of men's magazines from the 1950s and 1960s, with titles like Sir!, Real Action and Man's Thrills. "They all had the owner's name stamped on them," Kupperman observed, "but the stamp is slightly illegible, so it's impossible to know if the name is C. Buechtel, C. Brockel, C. Buschol or some other variant. This man--I'm assuming it was a man--spent years acquiring lurid men's magazines and taking them apart, using the contents to form his own hybrid magazines with the pages from several reassembled inside the cover of one. With a grease pencil he'd cross out the headlines on the covers that didn't apply anymore, and stamp his name on the results, along with a number. Why was he doing this? It's not clear. It might have been a need to make the magazines seem like a serious collection, his re-editing emphasizing his sober interest in subjects such as modern fiction and wife-swapping. Maybe this was one way he justified collecting these lurid periodicals, to himself or a spouse. Or maybe it was a version of the impulse that drives many artists (and three-year-olds): a need to remake and impose personal order that comes from some very deep place." Pirate Nightmare Vice Explosion presents highlights from that collection, and takes place in a murky, monochromatic world where mysterious, energetic sin is always happening behind closed doors. Some of it is factual; some of it smells of heady invention. Michael Kupperman is the author of Tales Designed to Thrizzle, Snake 'n' Bacon's Cartoon Cabaret and Mark Twain's Autobiography 1910-2010 (Fantagraphics). His work has appeared in The New Yorker, McSweeney's and Saturday Night Live.

In this critical history, DeForrest Brown, Jr "makes techno Black again" by tracing the music's origins in Detroit and beyondIn Assembling a Black Counter Culture, writer and musician DeForrest Brown, Jr, provides a history and critical analysis of techno and adjacent electronic music such as house and electro, showing how the genre has been shaped over time by a Black American musical sensibility. Brown revisits Detroit's 1980s techno scene to highlight pioneering groups like the Belleville Three before jumping into the origins of today's international club floor to draw important connections between industrialized labor systems and cultural production. Among the other musicians discussed are Underground Resistance (Mad Mike Banks, Cornelius Harris), Drexciya, Juan Atkins (Cybotron, Model 500), Derrick May, Jeff Mills, Robert Hood, Detroit Escalator Co. (Neil Ollivierra), DJ Stingray/Urban Tribe, Eddie Fowlkies, Terrence Dixon (Population One) and Carl Craig. With references to Theodore Roszak's Making of a Counter Culture, writings by African American autoworker and political activist James Boggs, and the "techno rebels" of Alvin Toffler's Third Wave, Brown approaches techno's unique history from a Black theoretical perspective in an effort to evade and subvert the racist and classist status quo in the mainstream musical-historical record. The result is a compelling case to "make techno Black again." DeForrest Brown, Jr is a New York-based theorist, journalist and curator. He produces digital audio and extended media as Speaker Music and is a representative of the Make Techno Black Again campaign.

A bold, pioneering, "free-souled" and long-rare classic of concrete poetry, available for the first time in 50 yearsOriginally published by Doubleday and Company in 1970, N.H. Pritchard's The Matrix was one of a tiny handful of books of concrete poetry published in America by a major publishing house. Sadly, the book was given little support and was not promoted, and it has long been out of print. However, it remains a cherished item for fans of poetry due to its unique composition, and difficult but rewarding poetics. Forcing the reader to straddle the line between reading and viewing, the book features visual poems that predate the experiments of the Language poets, including words that are exploded into their individual letters, and columns of text that ride the edge of the page. Praised as a "FREE souled" work by Allen Ginsberg, The Matrix feels as fresh and necessary today as when it was first published. This new facsimile edition, copublished by Primary Information and Ugly Duckling Presse, makes the book available to a new generation of readers.

Facsimile compilation of the late-'70s journal on diasporic and colonial histories that paved the way for the British Black Arts MovementPublished in three issues between 1978 and 1979, Black Phoenix: Journal of Contemporary Art & Culture in the Third World (the subtitle was changed to Third World Perspectives on Contemporary Art and Culture for its second and third issues) stands as a key document of its time. More than a decade after '60s liberation movements and the historic Bandung and Tricontinental Conferences that called for social and political alignment and solidarity to dismantle Western imperialism and (neo)colonialism, Black Phoenix issued a rallying call for the formation of a Third World, liberatory arts and culture movement on the eve of Margaret Thatcher's election in 1979.Based in the UK, and both international and national in scope, Black Phoenix positioned diasporic and colonial histories at the center of an evolving anti-racist and anti-imperialist consciousness in late 1970s Britain--one that would yield complex and nuanced discourses on race, class and postcolonial theory in England in the decade that followed.A precursor to the British Black Arts Movement that formed in 1982 (which encompassed such cultural practitioners as the Black Audio Film Collective and cultural studies theorist Stuart Hall), Black Phoenix proposed a horizon for Blackness beyond racial binaries, across the Third World and the colonized of the interior in the West. This single-volume facsimile reprint gathers all three issues of the journal, which include contributions by art critics, scholars, artists, poets and writers, including editors Rasheed Araaen and Mahmood Jamal, Guy Brett, Kenneth Coutts-Smith, Ariel Dorfman, Eduardo Galeano, N. Kilele, Babatunde Lawal, David Medalla, Ayyub Malik, Susil Sirivardana and Chris Wanjala.

A zine-cum-artist's book, "Mirror Me" was developed from a collaborative exhibition and performance organized by the writer Brandon Stosuy and the artist Kai Althoff at Dispatch, and displayed at White Columns. It features new materials by artists, writers and musicians such as Adam Helms, Matt Zaremba, Mitch Kehe, Nick Z., Peter Sotos, Philip Best, Scott Campbell, Theo Stanley, Yair Oelbaum and Zach Baron.