Bøger udgivet af Insert Blanc Press

BEING WORK is a collection of essays by dance and theater artists that offer access to varied experiences of performing in live exhibitions. The authors capture a spectrum of mundane and profound moments that arise within performance gig work in visual arts contexts such as museums, galleries and art fairs, detailing the day-to-day practice of inhabiting art work as well as reflecting on broader questions of how they got there and the impact it has had on their outside lives. While providing very personal, human perspectives on what it feels like to perform in visual arts spaces, BEING WORK asks its audience how a performer's labor is perceived and valued in these spaces, and what new possibilities might unfurl within the, at times fraught, coexistence of the two mediums.Contributors include: Mireya Lucio writing on being the work of Marina Abramovic, Casey Brown being the work of Maria Hassabi, Jessica Emmanuel being the work of Xu Zhen, Kestrel Leah being the work of Julien Previeux, Allie Hankins being the work of Gordon Hall, effie bowen being the work of Narcissister, Dorothy Dubrule being the work of Tino Sehgal and Paul Hamilton being the work of Bruce Nauman. Illustrations by Eileen Echikson accompany each essay to draw out the many thoughts, interactions, sensations and associations that encompass the experiences described.

Hello My Friend by Alee Peoples with an Essay by Ekrem Serdar is being published to accompany the exhibition Hello My Friend by Alee Peoples March 24 - May 21, 2023 at General Projects in the Lincoln Heights neighborhood of Los Angeles, CA. Alee Peoples is an innovative multimedia artist whose work explores the intersections of text, pattern, and visual communication. Her work is like a Rubik's Cube, deceptively simple and fascinating. Shooting Super 8 and 16mm in her film work and using repurposed fabric and materials in her textile work, Peoples transforms everyday objects into unique, abstract narratives that explore the absurdities and banalities of our contemporary imagination. Elements of a cosmic aesthetic run throughout her work, bringing her handcrafted look to life. Her work engages in a fierce form of play, grappling with meaning instead of grasping for it. Alee Peoples maintains a varied artistic practice that involves screen-printing, sewing, sculpture and film. Currently living in Los Angeles, she has taught youth classes at Echo Park Film Center and shown her sculpture and film work at GAIT, 4th Wall and Elephant Art Space. Peoples has shown her films at numerous festivals including Edinburgh, Images (Toronto) and New York Film Festival, and at museums and spaces including SFMoMA, Brooklyn Museum of Art, The Pompidou Center, Dirt Palace (Providence) and The Nightingale (Chicago). Started in 2022, Arroyo Seco Cine Club is a thematically programmed film series she co-curates with Mike Stoltz. She is inspired by pedestrian histories, pop song lyrics and is invested in the handmade. Ekrem Serdar (he, him) is a curator, writer, and arts administrator. As the curator at Squeaky Wheel he organizes exhibitions, public programming, and residency programs. Recent exhibitions and projects include Jenson Leonard: Gland Prix; SHAWNÉ MICHAELAIN HOLLOWAY: i would've said goodbye if i thought you loved me back; and Punctures: Textiles in Digital and Material Time. His writing has appeared in The Brooklyn Rail, Millennium Film Journal, 5harfliler, among other publications. He is the recipient of a Curatorial Fellowship from the Andy Warhol Foundation for the Visual Arts. He is from Ankara, Turkey.

Poetry. Fiction. Women's Studies. Edited by Caroline Bergvall, Laynie Browne, Teresa Carmody, and Vanessa Place, the book includes work by 64 women from 10 countries. Contributors respond to the question: What is conceptual writing? I'LL DROWN MY BOOK offers feminist perspectives within this literary phenomenon.Contributors are Kathy Acker, Oana Avasilichioaei and Erin Moure, Dodie Bellamy, Lee Ann Brown, Angela Carr, Monica de la Torre, Danielle Dutton, Renee Gladman, Jen Hofer, Bernadette Mayer, Sharon Mesmer, Laura Mullen, Harryette Mullen, Deborah Richards, Juliana Spahr, Cecilia Vicuna, Wendy Walker, Jen Bervin, Inger Christiansen, Marcella Durand, Katie Degentesh, Nada Gordon, Jennifer Karmin, Mette Moestrup, Yedda Morrison, Anne Portugal, Joan Retallack, Cia Rinne, giovanni singleton, Anne Tardos, Hannah Weiner, Christine Wertheim, Norma Cole, Debra Di Blasi, Stacy Doris and Lisa Robertson, Sarah Dowling, Bhanu Kapil, Rachel Levitsky, Laura Moriarty, Redell Olsen, Chus Pato, Julie Patton, Kristin Prevallet, a.rawlings, Ryoko Seikiguchi, Susan M. Schultz, Rosmarie Waldrop, Renee Angle, Rachel Blau DuPlessis, Theresa Hak Kyung Cha, Tina Darragh, Judith Goldman, Susan Howe, Maryrose Larkin, Tracie Morris, Sawako Nakayasu, M. NourbeSe Philip, Jena Osman, kathryn l. pringle, Frances Richard, Kim Rosenfeld, and Rachel Zolf.

CalArts was still using carbon paper in the mid-2000s. Memos were left for students on a large red bulletin board. Emails were completely ignored. Flyers were actually important. The hallways were covered in them.

Kevin McPherson Eckhoff has persisted in reading what was meant to be illegible, or irrelevant, or what Robert Smithson might have referred to as "language to be looked at" rather than words to be read. Undesigning the cipher of a place-holder, the matrix of layout meant merely to give space, he has transformed geometry into signification. In the process he renders "not the euphemism, [but rather] it" what the sheer materiality of language insists on continuing to say despite our best efforts to muffle, disrupt, or ignore it. Craig Dworkin, author of Reading the Illegible and The Perverse Library Annoying, my god, this book. Occasionally circumstances occur in which toil and pain can procure a reader some great pleasure, but this isn't one of them. Fifty-one grammars duel for the pain itself. And the easy hatred, my god. He/She/It's all ill-advised pulpiness to me. Don't say I promised you pleasure. Rachel Zolf, winner of the Trillium award for Human Resources

The Semi-Tropic Spiritualist Guidebook, brings together images, texts, excerpts of performance scripts, and printed ephemera from the Semi-Tropic Spiritualist's previous exhibitions. The book is organized as both a record of the project's Test Sites from 2012-2018, and as an idiosyncratic guidebook to California's spiritual history and geography. Semi-Tropic Spiritualists began in 2012 as an ongoing series of performance works, objects and illustrated texts by Los Angeles-based artists Astri Swendsrud and Quinn Gomez-Heitzeberg. Their works explore the history of spiritual belief and metaphysical practice in Los Angeles through the Semi-Tropic Spiritualists, an organization that created a campsite meeting place outside the city limits of Los Angeles in 1905. Spiritualism has described itself as a science, a philosophy and a religion. The artists are interested in this system as a model for examining ideas of faith and skepticism, belief and charlatanism, as well as for the development of a space dedicated to investigation and the search for knowledge.The Semi-Tropic Spiritualists have exhibited their installations and performance works at Richard Telles Fine Art, Klowden Mann, The Vincent Price Museum, and Chime & Co. in Los Angeles; Shangri-La, Joshua Tree, CA; and Llano del Rio, CA among other locations. Their work will also be part of the upcoming exhibition Totenpass at Visitor Welcome Center, Los Angeles, in October 2018. Both artists received their MFAs from CalArts in 2008.

Independence Day (c) 2018 Greg Curtis, Kim Calder, Ariel Evans Insert Blanc Press