Newspaper was started in 1969 by Steve Lawrence, and it ran for nine issues till 1971. It was a small press publication that spotlighted work by figures of the Downtown NY scene. A pivotal publication for the time, Newspaper was a product of the conceptual art movement and an emphasis on media systems and subversion. In 1970 it was part of the Information show at MoMA — widely acknowledged as the first large survey on conceptual art. Over the years and after the AIDS crisis, Newspaper was lost and Steve Lawrence's work faded into obscurity. In researching the original, NEWSPAPER has been inspired to make a call for the return of the transgression of earlier queer forefathers — an intellectual awareness, openness and love deeply informed by countercultural thinking. It is an exercise of looking back in order to move forward. As particular queer images of beauty, body, consciousness, and identity have emerged in mainstream visual culture and media, damage has been done. Over time they have established themselves in most media. This will be a space for artists, living and dead, that loudly or quietly promote an investigation or redefinition of these images in order to express their own sensibility.

POV paper is a quarterly published by the Swiss gender and sexuality festival La Fête du Slip . POV paper explores the themes of gender and sexuality as well, with purpose to focus on photography, illustration and writing. At the core of POV paper, is a developing exploration of new aesthetic approaches to porn. For each issue, POV paper brings together a photographer from the art world, and performers from the alternative porn world. The paper features articles, interviews, short stories, poems, and reviews, all exclusive and yet unpublished work, with contributors from around the world.

“In this contentious moment in history, the stories we tell are a social responsibility.” —Sandra Cisneros How does the photographer navigate our new national order? As debates about the economic future of the United States continue into a controversial presidential administration, the spring issue of Aperture, “American Destiny,” offers an urgent reflection on photography, labor, and community. From agricultural workers to those toiling on the factory floor, from regional cities weathering years of postindustrial decline to refugee populations assimilating into the heartland, the photographers featured in this issue are bound by a desire to reveal how lives are shaped by the ebb and flow of the economy. “American Destiny” maps geographies of economic promises unfulfilled, weighing how the interrelated factors of class, sexism, education, shifting demographics, racism, and stagnant wages have influenced social life in the United States. – See more at: http://aperture.org/shop/aperture-226-magazine#sthash.YtDrfmXN.dpuf

This Kaleidoscope's new Issue comes with a special edition cover—printed in 500 copies only—features an unpublished image by photographer Ari Marcopoulos and three special stickers. As best exemplified by Marcopoulos’ portfolio of images published inside the magazine, the VISION section is becoming more and more of a site for radical, specially-commissioned contributions by artists and creators who shape and disturb our visual landscape.

Das Buch zur Einzelausstellung von Bastian Muhr im Museum Wiesbaden dokumentiert die dort gezeigten, großformatigen Handzeichnungen des Künstlers und bietet einen tieferen Einstieg in seine Arbeitsweise. Muhr überprüft mit einer individuellen Technik die Zeichnung auf ihre formalen Eigenschaften. Die Ausprägungen des verwendeten Materials sowie der Charakter der handwerklichen Ausführung rücken dabei in den Vordergrund. Der Bildcharakter der Blätter verliert seine Wichtigkeit; Kompositions- und Richtungsfragen spielen eine untergeordnete Rolle. Zudem überlässt Muhr den Entstehungsprozess seiner Arbeiten einer Kombination von Systematik und Zufall. Die Zeichnungen erreichen auf diese Weise nicht nur eine betörende Sinnlichkeit, sondern stellen klassische Strategien der Bildfindung infrage.

Published on the occasion of Printed Matter’s New York Art Book Fair at MoMA PS1 September 16 — 18, 2016 Edition of 300

Odiseo stems from a huge need to explore. Seeking a visual, unique and personal vision of seduction, digging into new formats, eluding conventions. Odiseo blurs the confines of traditional erotic publishing by combining imagery that lies between art and erotica with insightful philosophical essays which delve into universal themes. They aim for not only a visual experience, but for an intellectual seduction as well. Odiseo shouts out the unseen: it is contradictory, mysterious, intellectual and intuitive at the same time. This idea illustrates our mission with Odiseo: explore new ways and offer a different and cross-cutting vision of erotism that goes far beyond gender, seeking seduction through masculinity, femininity, bodies and abstraction.

This 9th issue shows works by Nowork, Bia Bittencourt and Broomberg & Chanarin but also features on Hulk Hogan, Camouflage, The Swiss Family Robinson plus quotes from Hillary Clinton and Hilary Duff and more…

Hollywood, 1927. California, 1927. America, 1927. The world, 1927. It was a year like any other year — brim-filled with chaos and calamity, success and sensation — the minutia of everything and nothing. When we broke proverbial ground on Ace Hotel Downtown Los Angeles, we re-animated a strange and special part of Los Angeles' story — a historic compound built in 1927 by the newly founded independent United Artists. We asked celebrated film and art director Mike Mills to create the art for all of the guest rooms in our new hotel, he designed a webwork of pieces highlighting the events of that fateful year — with the work in each individual room contributing to a sweeping property-wide narrative. We've bound these micro-stories together into a special yearbook — cataloging both Mill's elegant work, and the year that long-ago was.

Rock/Music Writings collects Dan Graham’s influential writings about rock and roll music and its cultural impact. First published in 2009, Rock/Music Writings includes thirteen essays written between 1968 and 1988, most of which were originally printed in small magazines or journals, including Extensions, Fusion, REAL LIFE, and ZG. Graham was a friend and supporter of many musicians active in the No Wave scene that was centered around New York City in the late ’70s. In addition to collaborating with musicians during this period, Graham created “Rock My Religion,” a video that demonstrates parallels between rock music culture and religious rituals, such as Shaker dances and revivalist meetings. The work’s related text, also titled “Rock My Religion,” is included in Rock/Music Writings, along with texts such as “The End of Liberalism,” “New Wave Rock and the Feminine,” “McLaren’s Children,” and “Artist as Producer.” These texts examine the lyrics and backgrounds of bands like The Beatles, The Kinks, Devo, The Ramones, the Patti Smith Group, the Sex Pistols, and Bow Wow Wow, relating them to consumerism and visual art movements, including Abstract Expressionism and Pop art. Dan Graham is an artist based in New York. Since the 1960s, he has produced a wide range of work and writing that engages in a highly analytical discourse on the historical, social, and ideological functions of contemporary cultural systems. Architecture, popular music, video, and television are among the focuses of his investigations, which he articulates through essays, performances, installations, videotapes, and architectural/sculptural designs.

Wie bilden Kunstakademien heute aus? Während Hochschulgremien weltweit Curricula entwerfen, Abschlüsse internationalen Standards anpassen und Promotionsstudiengänge für Künstler einführen, tauchen Studenten auf der ganzen Welt in das Experiment eines Kunststudiums ein. Der vorliegende Themenband spürt Ausbildungsorten weltweit nach, von Südostasien über Afrika, den Nahen Osten, Europa, Lateinamerika und den U.S.A, an denen gedacht, gemacht und geforscht wird. Besonderen Raum in den Berichten und ergänzenden Gesprächen mit Studenten, Dozenten, Alumni, Künstlern und Museumskuratoren nahmen die zentralen Fragen nach dem Verhältnis zwischen handwerklichem Tun und theoretischer Reflexion sowie zwischen Können und Wissen in den unterschiedlichen Lehrmodellen ein – mit der Absicht, ein möglichst breites Spektrum zu eröffnen, das Affinitäten und Differenzen zwischen den unterschiedlichen Kulturen im Umgang mit Techniken und Handwerk greifbar macht. Dabei soll herausgestellt werden, welche Bedeutung Akademien und Kunsthochschulen der Ausbildung von Materialfertigkeiten in der Lehre heute zuschreiben.

Was weiß die Architektur? Wir nehmen an, ihr Wissen ist selbstverständlich, eine allgemein geteilte Grundlage unserer Arbeit. Etwas Abgeschlossenes, Vollkommenes, das bloß der Erinnerung und Interpretation bedarf. Dabei ist kaum auszumachen was seine Produktion und seine Konsumtion ausmacht, und wie diese zusammenhängen. Wissen wir, wann wir uns im Wissen bewegen und wann wir seine Grenzen verlassen? Horizonte sucht nach wissenschaftlichen Erklärungsversuchen und unwissenschaftlichen Antworten. Wir bewegen uns zwischen dem Konkreten und dem Abstrakten, zwischen dem Kollektiv und dem Einzigartigen, zwischen dem Bewussten und dem Zufall.

n+1 is a print and digital magazine of literature, culture, and politics published three times a year. They also post new online-only work several times each week and publish books expanding on the interests of the magazine. Issue 27 is named Deep End and features: Trump Rex. The end of Atlantic City. Literally dead in the UFC. Why live? A. S. Hamrah sees forty films at the NYFF, Tama Janowitz flops, strives, and seethes. Fiction by Thomas Bolt, Beatriz Bracher, and Caleb Crain.

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'.