The Borrowers: Copyright and its Discontents The first copyright law, made in the eighteenth century, granted artists the exclusive right to control the copying of their original creations for 14 years. Too brief a period? Perhaps, but by the beginning of the twenty-first century, copyright’s term had grown to cover the life of the artist plus 70 years – which means that Picasso’s Les Demoiselles d’Avigon will remain protected until 2043, 136 years after it was completed. Too long, surely? In this issue we look at the twentieth-century phenomenon of “copyright creep” and its implications for artists working in the Digital Age. We talk to Christopher Clary about Sorry to Dump On You, a personal/collective project embedded in gay online culture, and to David Claerbout about his unauthorized collaborations with Elvis Presley and others; we look at Eleanor Macnair’s Play-Doh recreations of iconic photographs; and we interview Stephanie Syjuco about her “copies, homages and perversions”. We also go in search of Ozmo and discover that even (and perhaps even especially) street artists get “bitten”, and meet Thomas Sauvin, whose remarkable (and entirely borrowed) Beijing Silvermine project is writing an alternative history of modern China. For some artists death is the end, but for others it opens a new chapter in their career. In this issue we talk to Dr Loretta Würtenberger, founder of the Institute for Artists’ Estates, about ways to keep artists’ works fresh and visible after their deaths, and we look at the remarkable posthumous career of Philippe Vandenberg. There’s also a Paper Gallery dedicated to the collaged “conversations” of Ruth van Beek, in addition to Encounters with US painter Joan Semmel, German artists Neo Rauch and Thomas Ruff, Dutch photographer Scarlett Hooft Graafland, Danish designer Henrik Vibskov, and Spanish painter Secundino Hernández.

The first publication on the work of Dutch power trio Experimental Jetset features almost two decades of graphic design praxis. Rather than a monolithic monograph, it is a very loose, personal archive, with essays by Linda van Deursen, Mark Owens, and Ian Svenonius, plus two photographic chapters with a selection of work by the studio, covering both printed matter and the documentation of site-specific pieces and installations. To conclude is a glossary-like anthology of texts (fragments of interviews, lectures, correspondence, etc.) previously written by Experimental Jetset, selected, edited, and structured by Jon Sueda. Re-print combined with the booklet 'Automatically Arranged Alphabets'.

The first publication on the work of Dutch power trio Experimental Jetset features almost two decades of graphic design praxis. Rather than a monolithic monograph, it is a very loose, personal archive, with essays by Linda van Deursen, Mark Owens, and Ian Svenonius, plus two photographic chapters with a selection of work by the studio, covering both printed matter and the documentation of site-specific pieces and installations. To conclude is a glossary-like anthology of texts (fragments of interviews, lectures, correspondence, etc.) previously written by Experimental Jetset, selected, edited, and structured by Jon Sueda. Re-print combined with the booklet 'Automatically Arranged Alphabets'.

What exactly is the tactile, in a world in which a rising technocracy exploits the designed environment we feel? Who authorises and who writes, what tradition do we stand in and how can we touch base? After endlessly hearing that Onomatopee publications have a materiality and tactility not often experienced in recent years, Onomatopee director and curator Freek Lomme decided to create an exhibition and publication addressing the issue of tactility and print today, accommodated by the Frans Masereel Centre and Z33. Presenting artists in the practice of making and thinkers in the development of thought here and now, we connect to tactile characteristics, guided by a specific focus on graphic, printed matter. The lasting result is a palm-sized book jam-packed with information and ideas on the subject. Six contemporary artists and eight international academics and authors in the field of graphic design, materiality, theory and art explore how, in the digital age, our daily interaction with physical materials is greatly altered and how this affects us as humans. ISBN 978-94-91677-38-0

Paint & Polish sources visual inspiration from the microeconomic culture of Hispanic and African-American nail artists in the Northwest Side of Chicago. It fosters engagement with these artists by highlighting their work and collaborating with them. Included are oral histories, conversations with various nail artists, their portraits by Helen Maurene Cooper, and photography from their business. By documenting the community, this set of materials engages with it profoundly. Inspired by these sources and the visually tempting, distinct style of the nail art, Cooper’s photographic artworks open a gateway to elaborate on the visual identification of nail art. In both photography and the nail art scene, concerns such as gesture, self-expression and labor are prominent. The accompanying writings take these issues into consideration. EDITOR: Helen Maurene Cooper EDITORIAL ADVICE: Freek Lomme AUTHORS: Ryan Kenneth Blocker, Roula Seikaly, Patricia Reed TRANSLATORS / TEXTEDITORS: Marcus Moretti and Olga Livshin GRAPHIC DESIGN: Astrid Yperlaan and Freek Lomme for Onomatopee Made possible thanks to the Chicago Department of Cultural Affairs **********************

Today it has become increasingly difficult to find a person or an object without some kind of connection to the internet. No Internet, No Art is dedicated to exploring what this situation entails with respect to one cultural field in particular: art. This anthology forms both the culmination and a continuation of a series of public events titled Lunch Bytes – Thinking about Art and Digital Culture, held in Washington, D.C., which invited artists and experts from different fields to discuss their work in relation to this overarching theme. By opening up the often narrowly-defined discursive field of “post-internet,” artistic practices are examined thematically within the larger context of digital culture. As such, this anthology offers valuable new contributions to the fields of art history, media studies, philosophy, curatorial studies, and design. With contributions by: Philipp Albers, Kari Altmann, Karen Archey, Aram Bartholl, Michael Bell-Smith, David M. Berry, Natalie Bookchin, Andreas Broeckmann, Melanie Bühler, Harry Burke, Adam Cruces, Michel van Dartel, Annet Dekker, Niels van Doorn, Raffael Dörig, Claire L. Evans, Kenneth Goldsmith, Joel Holmberg, Paul Kneale, Katja Kwastek, Monica Lam, Geert Lovink, Pierre Lumineau, m-a-u-s-e-r, Greg Niemeyer, Nicolas Nova, Jaakko Pallasvuo, Christiane Paul, Daniel Pinkas, Domenico Quaranta, Jon Rafman, Rafaël Rozendaal, Cornelia Sollfrank, Jenna Sutela, Douglas Thomas, Mark Tribe, Brad Troemel, UBERMORGEN, Ben Vickers, Bernadette Wegenstein, Peter Weibel, Elvia Wilk. Edited by Melanie Bühler Copy edited by Rachel Somers Miles Designed by Hannes Gloor with Freja Kir This publication was made possible with the generous support of the george foundation, Winterthur; the Erna and Curt Burgauer Stiftung, Zürich and the Canada Council for the Arts, Ottawa.

Zeichenheft, 28 Seiten, 2014

Susann Arnold lebt in Leipzig und studierte Illustration & Film an / lives in Leipzig and studied Illustration & Film at: „Hochschule für Grafik und Buchkunst Leipzig – Academy of Fine Arts Leipzig“ „Universität der Künste Berlin – Berlin University of …

Published by M/M(Paris), Alphadicks brings together an original series of drawings by Mathias Augustyniak. The title is appropriate: the black and white illustrations portray twenty-six elegant young men with giant phalli protruding from their backs, breaking out of their hats or placed delicately around their shoulders like animals after the hunt. A cheeky text in rhyme by Glenn O’Brien entitled ‘Dickheads’ introduces the drawings.

First published to critical acclaim in 1999 and reprinted numerous times, Fucked Up and Photocopied: Instant Art of the Punk Rock Movement is still the seminal book on the art of punk rock fliers. While most attention has been paid to the phenomenal archive of images in the book, the essays contained offer an incredible snapshot of the birth of the movement and its lasting legacy. The Reader collects all of these insightful pieces together with those contained in its follow up book, Punk is Dead, Punk is Everything in one tome. Writers include Brendan Mullen, Jello Biafra, Pushead, Mike Watt, Lorna Doom, Tony Alva, and many more alongside interviews with punk pioneers Ian Mackaye and Malcolm McLaren.

Format: Softcover Seitenanzahl: 76 Abmessungen: 19 × 12.5 × 1 cm Einband: geheftet