Using painting, drawing, and abstraction as markers of a space outside verbal description, Jessica Dickinson examines the slow exchanges between perception, matter, and psychology that develop in peripheral spaces. Each of her works is developed slowly, meditatively, through procedures that work toward a compressed measure of time that echoes the shifts in what is seen, both inwardly and outwardly.

Under / Press. / With-This / Hold- / Of-Also / Of/How / Of-More / Of:Know presents eight paintings and their “remainders”—graphite rubbings made of the paintings. Every time the surface of the paintings changes significantly, a graphite impression is made to transcribe the surface. These works in turn map the transitive passages of the paintings, becoming their indexes, unfolding time in a sequence while asserting the materiality of the paintings.

Published in conjunction with an exhibition at James Fuentes Gallery, New York, the book’s 46 color and 107 b&w reproductions are accompanied by an essay by curator Debra Singer and an interview with the artist by Patricia Treib.

€45.00

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John Fahey: Paintings. Inventory Press

The much-revered avant-garde guitarist John Fahey (1939–2001) incorporated influences ranging from folk, blues, and bluegrass to classical music, musique concrete, and noise in his primarily acoustic guitar-based compositions. Considered a legend by many, Fahey released upward of three dozen LPs in his lifetime.

Relatively late in life, Fahey extended his so-called American Primitive approach beyond music, and into the creation of a substantial body of paintings created in makeshift studios in and around Salem, Oregon. Painting on found poster board and discarded spiral notebook paper, working with tempera, acrylic, spray paint, and magic marker, Fahey’s intuitive approach echoes the action painters and abstract expressionists. The same alluring and tranquilizing aesthetics that defines much of Fahey’s musical output are equally present in his paintings.

The first publication focusing on his visual output, John Fahey: Paintings is illustrated with 92 plates and is accompanied by essays from Keith Connolly, founding member of No-Neck Blues Band, and the critic Bob Nickas.

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Public Collectors Marc Fischer. Inventory Press

Established in 2007 by Marc Fischer, and featured in the 2014 Whitney Biennial, Public Collectors encourages collectors of material culture—the kind that most museums won’t exhibit—to ‘open’ their collections to the public. Extending the popular website of the same name, this book presents a wide array of collections—some featured on the website, most newly assembled for publication—interspersed with commentary and essays exploring the problems and politics of collecting materials that may lack conventional monetary or cultural value.

Marc Fischer is a Chicago-based artist and a member of Temporary Services, a group that has produced over 100 publications and organized and participated in dozens of exhibitions, projects, and events. Fischer and Brett Bloom of Temporary Services also run the publishing imprint Half Letter Press.

17.15 x 22.85 cm, 208 pages, hardcover
ISBN 978-1-941753-02-6
Edited by Elizabeth Thomas
Design by Project Projects

29.80€
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