Bøger udgivet af Printed Matter, Incorporated

Dark Prospects takes as its source material issues of People, Time, Newsweek, U. S News and World Report. Charles Beronio retains the form of the magazine, but dismantles the medium's visual language by blacking out all references to textual and visual references to corporate branding, time and location, as well as the faces of the magazines' featured stars and advertising props. What's left is a stuttering, unforgiving sequence of detonated images and textual fragments; a skewed visual narrative of modern life.

Hunters Follow Harpy Shadows is an experimental work featuring a series of poetic writings that explore fantasy narratives of rewritten mythologies. Mixing re-imagined trans Korean folklore, queered Biblical storytelling and pirate lore, the publication is an amalgamation of writing delivered from the lips of the artist as a genderfluid seraphim that has left heaven to tell mortals of the other worlds.

Depreciating Assets is a new artists' book by Jessica Vaughn investigating labor, diversity politics, and the material environment of the American workplace. With a new lens to the artist's multidisciplinary practice, the project examines how affirmative action and other office equity measures are intersected by corporate infrastructure and, specifically, the physical layout of office space. Across four interwoven sections and related appendices, Vaughn assembles her photographs and critical writings alongside xeroxed images, diversity training video stills, and manipulated open source documents of the US Government. The project considers and distills the symptoms of late 20th and 21st century work culture produced by open office plans and modular architecture's promise of malleability, compliance, and universality - provisions that bid for increased efficiency and productivity at the expense of visibility for Black workers and workers of color. Vaughn looks at how minimalist design gestures of the modern office (as envisioned by Rem Koolhaas' formative essay "Typical Plan," and Herman Miller's Ethospace brochures) cannot exist outside the conditions of race, class and labor. The project also includes an interview between Vaughn and curator Magdalyn Asimakis, in which the two discuss the structural failings of arts and cultural institutions to practice equitable inclusion of artists of color, or to develop a language and praxis in support of diverse programming that extends beyond compliance, optics, and concerns of the market. Vaughn draws connections between the operations of these institutions to that of the corporate environment, and discusses the ways in which she manipulates their commonalities through the material of her work. In its design, Depreciating Assets intentionally replicates the style, materials, and colors outlined by the US Government Publishing Office-standards set to ensure design efficiency and the economical production of their internal documents. The book draws from the familiar copyshop palette of Venetian blue, tan pink, salmon, green and brown, and uses varied paper stocks in accordance with Paper Standard specifications. In doing so the project takes on and examines the homogeneity imposed by so-called 'corporate efficiency measures,' and the fundamental tension between diversity initiatives and one-size-fits-all approaches to office resources. The publication concludes with an afterword by the author contextualizing the project's themes within the contemporary reality of global pandemic, economic precarity, and protests against racist state violence. Here Vaughn explores how in the absence of an adequate governmental response to structural problems, workplaces implement ad-hoc solutions (such as plexi-dividers) that still leave workers vulnerable and at risk - most acutely, Black workers who are often underinsured.

An archival history of New York City's most prolific artist collective, including Jimmy DeSana, Jenny Holzer, Kiki Smith and moreThis book traces the output of Collaborative Projects Inc. (aka Colab), the highly energetic gathering of young downtown New York City artists active from the late 1970s through the mid-1980s. Advocating a form of cultural activism that was purely artist-driven, the group created artworks, curated shows and engaged in discourse that responded to the political themes and predicaments of its time. With extensive documentation of the printed material and media steadily produced in the course of its collaborative undertakings, as well as many firsthand accounts, the book displays the diverse aesthetics and concerns of the group as it embarked on The Real Estate Show, The Times Square Show and other projects.Edited by Printed Matter's former executive director Max Schumann, the full-color publication presents a detailed view of Colab--both through the work created and in the artists' own voices--and represents the fullest account of Colab's output to date. This second printing comes at a time of renewed and heightened interest in a bygone era of New York City's vibrant arts culture.Artists include: Liza Béar, Jimmy DeSana, Jane Dickson, Bradley Eros, Barbara Ess, Coleen Fitzgibbon, Jenny Holzer, Ann Messner, Alan W. Moore, James Nares, Marcia Resnick, Judy Rifka, Christy Rupp, Kiki Smith, Reese Williams, Robin Winters.