Design

WALKER ART CENTER // DESIGN FELLOWSHIP 2009–2010 // design.walkerart.org/fellowship // Deadline: June 8, 2009

(left to right, top to bottom) iMac G4; The James Diamond Collection of Home Movies WAC 9.5 16mm BW; Eric Luken 13 JonBenéts; Nov 10 1991 1/8”=1”– 0”; Cho—Fro; Canon AP200; Hanging Out; Elizabeth Peyton Michelle and Sasha Obama Listening to Barack Obama at the Democratic National Convention August 2008 2008; Galleries 4, 5, 6; Pantone Cool Gray 10C; John Baldessari I Will Not Make Any More Boring Art; telluridefilmfestival.org; Hella Jongerius Polder Sofa 2005; x 7601; La Ex; TELEVISION ASSASSINATION Bruce Conner Estar Base Print: NEG.1; Silky Furry Fleece Pillows; Norman Vincent Peale Enthusiasm Makes the Difference; Press Department Files Jan 84—May 86; Roasted Vegetable Panini D’Amico’s.

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Click here to see a selection of work from the studio
For information on how to apply: 2009/2010 Walker Art Center Design Fellowship

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There is also an opening for the Senior Graphic Designer position.
For information on how to apply: http://info.walkerart.org/jobs/detail.wac?id=5006

Tuesday, March 24, 7 pm
Experimental Jetset, Amsterdam
Marieke Stolk and Danny van den Dungen

1. What music were you into before you became EXPERIMENTAL JETSET?

( 1) ( 2) ( 3)

( 4) ( 5) ( 6)

(7) ( 8) ( 9)

The Cramps(1) , Suicidal Tendencies(2),  The Zombies (3) , The Beatles (4),  The Specials(5),  Screamin’ Jay Hawkins (6), Prince (7),  Japan(8) , The Pixies (9).

2. Who were your heroes before you became EXPERIMENTAL JETSET?

(1) (2  ) (3) (4) (5)

Pushead (1), Savage Pencil (2),  Debbie Harry (3), Marlene Dietrich (4), Charlie Chaplin (5),  My friends .

3. What were your obsessions before becoming EXPERIMENTAL JETSET?
Drawing, reading, skateboarding, punk music; Horror; Drawing, reading, making mix-tapes.

4. What were your dreams before you became EXPERIMENTAL JETSET?
To become a comic artist; To open a bar; To become a tap-dancing architect.

5. What were you reading before you became EXPERIMENTAL JETSET?

(1) (2) (3)

(4) (5) (6)

Science fiction (mostly short stories by writers such as Ray Bradbury) (1),  Edgar Allen Poe (2) , Willem Elsschot (especially ‘Lijmen / Het Been’) (3),
Hanif Kureishi (4), Paul Auster (5), Harry Crews (6).

6. What did you use to collect before you became EXPERIMENTAL JETSET?
Comics, fanzines; Posters; Records.

7. Who were you before EXPERIMENTAL JETSET?

In no specific order:
Danny van den Dungen, Marieke Stolk, Erwin Brinkers.

(1)

Danny van den Dungen, Marieke Stolk, Erwin Brinkers with Wim Crowel

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Based in Amsterdam and founded in 1997 by Marieke Stolk, Erwin Brinkers, and Danny van den Dungen, Experimental Jetset has been consistently reinterpreting the implications of modernism, often from the perspective of a youth-based counterculture. The studio is perhaps best known to U.S. audiences from their appearance in the documentary Helvetica (2007), and their dogmatic use of that typeface has become a defining aspect of their work and has influenced new generations of graphic designers. Experimental Jetset’s iconic print work explores ways in which we are both shaped by and help shape our material environment. Projects for cultural clients include collaborations with the Amsterdam Stedelijk Museum, Purple Institute, Centre Pompidou, Colette, Dutch Post Group, Réunion des Musées Nationaux, Le Cent Quatre, De Theatercompagnie, and 2K/Gingham, which released their iconic John&Paul&Ringo&George T-shirt design. The studio’s work has been exhibited in galleries across the world, and in 2007 New York’s Museum of Modern Art acquired a large selection of their projects for inclusion in its permanent collection. Since 2000, members of Experimental Jetset have been teaching at the Gerrit Rietveld Academy in Amsterdam.

www.experimentaljetset.nl

Tuesday, March 17, 7 pm
David Reinfurt, New York
O-R-G & Dexter Sinister

While at Printed Matter’s New York Art Book Fair last fall, I was fortunate enough to catch David Reinfurt at the Dexter Sinister booth for a brief chat about the conception of DS and about a project they produced for a conference on contemporary artists’ books commissioned by the Art Libraries Society of New York.

(Photo by Jessica Williams)

On Dexter Sinister:

“It originally started out as a project for the Manifesta Six Biennial, which was supposed to be staged in Nicosia on the island of Cyprus. They took the money that would originally pay for a biennial and restaged it as a six month long art school. For that they asked Stuart Bailey and I to come up with a proposal for the graphic design of the book. We decided to do something a lot like the way they organized the exhibition itself, which was to take the money and resources of what would usually go into printing and distributing a catalogue and set up something that had a more direct relationship to what actually was needed at the time. If it’s a six month art school you don’t need to make a 296 page catalog and send it all over the world. Things were needed in much smaller numbers so we proposed to set up a printing workshop in the city of Nicosia and make all of the materials there in this kind of vitrine where we’d be working with borrowed printers or people from the school who are artists to make the publications just in the numbers that are needed. It was just our direct response to what was actually needed rather than printing 1,000 because that’s what an off-set printer could do.

We worked on that project for a year and a half in a store-front downtown in the old city. Everything was set up, but the project was canceled. Around the same time, we had found a space on the lower east side that we decided would be a good place to have a bookstore to sell some of the things we made. It was like a joke “Wouldn’t it be nice to have some presence for this project in New York…” but then when it was canceled, we just took a lot of the ideas and brought them to New York and just re-staged them in our space there. It sounds like everything was premeditated, but it wasn’t at all. It was just one kind of thing to the next. As soon as we had the underground storefront in New York, it didn’t make sense to do any printing there because it was so tiny. But a bookstore made sense, so we started running the space as a bookstore one day a week and the rest of the time as a studio.”

EVERY DAY THE URGE GROWS STRONGER TO GET A HOLD OF AN OBJECT AT VERY CLOSE RANGE BY WAY OF ITS LIKENESS, ITS REPRODUCTION:

“This project was done for the Arts Libraries conference at the MOMA which we spoke at also. They asked us to make a book for the conference which was on contemporary artists’ books. So we decided to make this, which is a collection of Portable Document Formats (PDFs) that are on our online library. We fit each of the PDFs onto 8-page signatures and produced them on a stencil printing machine.

Each of the Arts Librarians takes one of these sets, binds them, and puts it into their libraries. When we set up the online library we had this model in mind; that it would distribute and just push things out into the world and not necessarily circulate, lend or do something else. This was a nice project to do because it hits a few things we’re interested in, like the tension between the free thing online and the thing you hold in your hand, sealing it up and putting it into a library versus the ‘always, everywhere’ quality of a PDF.”

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A vanguard among a recent wave of young designers whose practices blur the lines between the worlds of client-driven projects and critical investigation, David Reinfurt melds highly conceptual ideas with technological experimentation. After receiving his MFA in Graphic Design from Yale University in 1999 and working as an interaction designer at IDEO in San Francisco, he founded the studio O-R-G in New York, where his clients included the New York Times, AIGA NY, Corcoran Gallery of Art, Brill’s Content, and Dean Sakamoto Architects, among others. In 2006, with graphic designer Stuart Bailey, Reinfurt established Dexter Sinister, a small workshop/bookstore on the Lower East Side. Counter to the assembly line realities of today’s large-scale publishing, the studio’s process involves working on-demand, using inexpensive local machinery, considering alternate distribution strategies, and collapsing distinctions of editing, design, production, and distribution into one efficient activity. Dexter Sinister was featured at the Centre d’Art Contemporain Genève in Switzerland and the 2008 Whitney Biennial. Reinfurt has written for magazines such as the New York Times Magazine, Dot Dot Dot, Social Text, Visual Communications (UK), Modern Painter, Metropolis M, Idea Magazine (Japan), and Nozone Empire. He previously held a yearlong research affiliate position at the Center for Advanced Visual Studies at MIT and currently teaches at the Columbia University Graduate School of Architecture, Planning and Preservation, and the Rhode Island School of Design

David Reinfurt will be speaking at the Walker Art Center on Tuesday, March 17, 2009 as part of Avant la lettre: Insights 2009 Design Lecture Series.

Lectures:
March 24 Experimental Jetset, Amsterdam
March 31 Ellen Lupton, Baltimore

Series tickets: $70 ($48 AIGA/Walker members)
Individual event tickets: $20 ($15; $10 students)

For tickets: 612.375.7600 walkerart.org/tickets

Lectures will be webcast on channel.walkerart.org

Tuesday, March 10, 7 pm
Process Type Foundry, Minneapolis
Eric Olson and Nicole Dotin

1. What music were you into before you became PROCESS TYPE FOUNDRY?

Eric Olson: Coalesce, MC5, Converge, Fabric, The Faces and John Adams.
Nicole Dotin: I think I’m still listening to it.

2. Who were your heroes before you became PROCESS TYPE FOUNDRY?
Eric: I don’t have any heroes.
Nicole: I am inspired by the exceptional actions of others, but I don’t have any heroines.

3. What were your obsessions before becoming PROCESS TYPE FOUNDRY?
Eric: Fear I suppose. Mostly of speaking in public and driving through intersections.
Nicole: If I was obsessed with anything, it would have been perfection … and I still haven’t learned any better.

4. What were your dreams before you became PROCESS TYPE FOUNDRY?

Eric: To become a type designer.
Nicole: To find what fit.

5. What were you reading before you became PROCESS TYPE FOUNDRY?

Eric: Robin Kinross and Jonathan Franzen come to mind.

Nicole: A lot of American history at the time of the Revolution.

6. What did you use to collect before you became PROCESS TYPE FOUNDRY?
Eric: I don’t collect.
Nicole: I’ve never had a collector’s mentality for objects, but I’ve always collected skills because I’ve always loved to learn.

7. What were you before PROCESS TYPE FOUNDRY?
Eric: A teacher, freelance graphic designer, office temp and construction laborer.
Nicole: A typography teacher, graphic designer, web designer and seamstress/tailor.

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Process Type Foundry has quickly become one of the most sought-after type foundries in the United States. Founded in 2002 by Eric Olson, the company is known for its unique contemporary typefaces, extensive extended character sets, and custom commissioned work. Its early font releases included the rounded sans serif Bryant, the quirky modular FIG Script, and Locator & Locator Display, a type family designed to represent the Twin Cities. Klavika, released in 2004, has become the foundry’s most popular typeface to date, appearing in everything from the Facebook logo to NBC’s on-air graphics and magazines such as Blender and Architecture MN. Process Type Foundry has worked with clients such as the New York Times Magazine, Thomson-Reuters, and Chevrolet to strengthen their identities with custom type work, and in 2005 Olson engineered the Walker Art Center’s new graphic identity. The studio’s work has been featured in the book Metro Letters and in numerous magazines, including Eye, Nylon, PRINT, étapes, HOW, STEP, Metropolis, Task Newsletter, and CAP&Design. Prior to forming Process, Olson taught at the Minneapolis College of Art and Design (MCAD) and was a design fellow at the University of Minnesota Design Institute and a graphic designer at the Walker. A principal in the company, Nicole Dotin received her MA in Typeface Design from the University of Reading, England, and previously taught at MCAD. In 2006 she joined Olson as the foundry’s second designer.

www.processtypefoundry.com

The Walker Art Center and AIGA Minnesota present Insights, which brings graphic designers from around the country and the world to the Twin Cities.

Series tickets: $70 ($48 AIGA/Walker members)
Individual event tickets: $20 ($15; $10 students)

Lectures:
March 10 Process Type Foundry, Minneapolis
March 17 David Reinfurt, New York
March 24 Experimental Jetset, Amsterdam
March 31 Ellen Lupton, Baltimore

Tickets: 612.375.7600 walkerart.org/tickets

Before leaving Los Angeles, I went to one of my favorite used bookstores on Sunset Blvd called Aldine Books. They have a few carts outside that have books and magazines marked down to $1 that I usually peruse before entering the actual store. That day, I stumbled upon this issue of Tulane Drama Review (Volume 10, Number 2 Winter, 1965). I was immediately drawn to the cover which features a photo by George Maciunas titled Pigeon Event in St. Mark’s Place, New York City, with notable surnames of Fluxus artists written on top of it. I had found, amongst used cookbooks and romance novels, THE FLUXUS Issue, an incredibly rich resource that documents Fluxus events and activity at the time.

Inside, there are interviews, essays, conversations, diagrams and reviews of plays, performances and a variety of other works. The list of contributors for this issue include: Michael Kirby, Robert Ashley, John Cage, Ken Dewey, Letty Eisenhauer, Ann Halprin, Dick Higgins, Theodore Hoffman, George Maciunas, Jackson Mac Low, Robert Morris, Claes Oldenburg, Yvonne Rainer, Ramon Sender, Paul Sills, Kelly Yeaton and La Monte Young.

Allan Kaprow’s Eat

fig.1 fig.2

fig.1: view toward entrance, with entrace bridge in center. Girl with white wine glass at left; 
girl with red wine at right.

fig.2: performer in small cave with boiled potatoes

“Eat, an Environment by Allan Kaprow, was presented during the mornings and afternoons of the two last weekends in January, 1964….Only twenty reservations were made for each one-hour period…to forestall overcrowding and keep free circulation in the space…At the far end of the bay on the right, which contained many charred wooden beams, a girl sat at a small electric hot plate frying sliced bananas in brown sugar. If a spectator asked for some, she gave them to him, but she did not speak…The only way to get inside the structure—to get at most of the food—was to climb a tall ladder propped against the side…The visitors were free to wander about through the cave. Some ate and drank; others did not. At the end of the hour the remaining people were ushered out, the “performers” were replaced by fresh volunteers, and new visitors were allowed to enter.” —Michael Kirby

Interspersed between the pages were two fold-outs, breaking the continuity of the review with a beautiful surprise. These inserts are what make this issue of tdr special.

FLUXUS HQ P.O.BOX 180 NEW YORK 10013
FLUXUSHOPS AND FLUXFESTS IN NEW YORK
AMSTERDAM NICE ROME MONTREAL TOKYO
V TRE-FLUXMACHINES-FLUXMUSICBOXES
FLUXKITS – FLUXAUTOMOBILES – FLUXPOST
FLUXMEDICINES – FLUXFILMS – FLUXMENUS
FLUXRADIOS – FLUXCARDS – FLUXPUZZLES
FLUXCLOTHES – FLUXORCHESTRA – FLUXJOKES
FLUXGAMES – FLUXHOLES – FLUXHARDWARE
FLUXSUITCASES – FLUXCHESS – FLUXFLAGS
FLUXTOURS – FLUXWATER – FLUXCONCERTS
FLUXMYSTERIES – FLUXBOOKS – FLUXSIGNS
FLUXCLOCKS – FLUXCIRCUS – FLUXANIMALS
FLUXQUIZZES – FLUXROCKS – FLUXMEDALS
FLUXDUST – FLUXCANS – FLUXTABLECLOTH
FLUXVAUDEVILLE – FLUXTAPE – FLUXSPORT
BY ERIC ANDERSEN – AYO – JEFF BERNER
GEORGE BRECHT – GIUSEPPE CHIARI- ANT -
HONY COX – CHRISTO – WALTER DE MARIA
WILLEM DE RIDDER – ROBERT FILLIOU
ALBERT FINE – HI RED CENTER – JOE JONES
H. KAPPLOW – ALISON KNOWLES – JIRI KOLAR
ARTHUR KOPCKE – TAKEHISA KOSUGI-SHIGE-
KO KUBOTA – FREDRIC LIEBERMAN – GYORGI
LIGETI – GEORGE MACIUNAS – YOKO ONO – BEN-
JAMIN PATTERSON – JAMES RIDDLE – DITER
ROT-TAKAKO SAITO – TOMAS SCHMIT-CHIEKO
SHIOMI – DANIEL SPOERRI – STAN VANDER-
BEEK – BEN VAUTIER – ROBERT M. WATTS
EMMETT O. WILLIAMS – LA MONTE YOUNG
FLUX – ART – NONART – AMUSEMENT FORGOES
DISTINCTION BETWEEN ART AND NONART,
FORGOES ARTIST’S INDISPENSABILITY,
EXCLUSIVENESS, INDIVIDUALITY, AMBITION,
FORGOES ALL PRETENSION TOWARDS SIG-
NIFICANCE, RARITY, INSPIRATION, SKILL,
COMPLEXITY, PROFUNDITY, GREATNESS,
INSTITUTIONAL AND COMMODITY VALUE.
IT STRIVES FOR MONOSTRUCTURAL, NON-
THEATRICAL, NONBAROQUE, IMPERSONAL
QUALITIES OF A SIMPLE NATURAL EVENT,
AN OBJECT, A GAME, A PUZZLE OR A GAG.
IT IS A FUSION OF SPIKES JONES, GAGS,
GAMES, VAUDEVILLE, CAGE AND DUCHAMP

The first fold-out, printed front and back with bright orange ink on a thin uncoated stock, spans about 35 inches. It is comprised of a collection of events by Fluxus artists George Brecht, Joe Jones, Alison Knowles, George Maciunas, Benjamin Patterson and Robert Watts.

 fig.3

 fig.4

fig.3: George Brecht: Drip Music (Drip Event); Joe Jones: Predictions 1963;
Duet for Two Brass Instruments; Alison Knowles: Child Art Piece; Proposition Make a Salad,
Variation - Make a Soup.

fig.4: Alison Knowles: String Piece; George Maciunas: In Memoriam to Adriano Olivetti;
Benjamin Patterson: Seminar 1; Robert Watts: Rain Event; Two Inches.

CITY SCALE

The second fold-out, printed black, one sided, on a thin newsprint, is also about 35 inches. It is a diagram of City Scale, the exploration of performer-audience relationships through a series of predetermined and spontaneous events within the city.

City Scale was the culminating event of a season devoted to exploring performer-audience relationships. We decided to use the city environment as totally as possible, to create a trip out of which more or less controlled elements would emerge. Many of the events were purposely ambiguous so that audience members would not have the certainty of knowing whether a given incident had been planned or was happening anyway.

The most meaningful events of the evening were those which impinged upon the life of the city, interacted with it, transformed it, or absorbed it into the structure of the work. The arrival of the audience in two trucks at a small park perched high on a hill overlooking the Mission coincided with a collision between two teenage gangs in the park. I had arrived early to inflate four seventeen-foot weather balloons, and noticed the kids collecting. Just as the two groups started toward each other, our trucks full of excited participants roared up. Sixty people started running across the park towards the balloons, and the teenagers scattered to the periphery. I don’t know what went through their minds in the minutes that followed, as adults chased balloons and each other through the park.

City Scale was a natural extension of sound experiments with which Tape Music Center members were involved—group improvisation, or tape pieces unfolding on many simultaneous levels of control. Out of it developed our present interest in environmental works—sound and light events controlling as much of a given space as possible.

—Ramon Sender

My intention was to externalize visually the world in ourselves by providing a maze of the manmade, a sequence of events in the city.

—Anthony Marti

Tulane Drama Review is still being published today quarterly by Tulane University under the auspices of its Department of Theatre and Speech. However, I wonder how many of them are as special as this one.

Text/Messages: Books by Artists, organized by Walker curator Siri Engberg and Walker librarian Rosemary Furtak, is a very exciting exhibition opening tomorrow, December 18, 2008, and will be up until April 19, 2009. It will feature artist books from the Walker’s extensive library and collection that rarely get displayed for public viewing, so its an absolute treat for this show to be happening. As a designer, many of these books have been highly influential, especially the typographic works by Dieter Roth and Lawrence Weiner. I was overwhelmed with nostalgia when I saw some of Edward Ruscha’s Los Angeles influenced books like Every Building on the Sunset Strip. Here are some installation images from the exhibition and a few of my favorite pieces on display:

fig.1: Dieter Roth; fig.2: Lawrence Weiner; fig.3: Edward Ruscha; fig.4: Allan Kaprow; fig.5: Yoko Ono; fig.6: Richard Tuttle

About Text/Messages:

“Books have historically been an important arena for artistic endeavor. Early in the 20th century, artists often illustrated existing texts, creating deluxe publications released in limited editions. By mid-century, many were beginning to see books as a more democratic way to present visual information. The rush of underground publishing in the 1960s and rise in widely distributed leaflets, posters, and magazines set the stage for an unprecedented exploration into the book as an art form, often reflecting contemporary movements such as Pop Art, Minimalism, Conceptual Art, and feminism. Since then, newer modes of commercial printing and experimentations with handmade papers, unconventional methods of binding, and unexpected materials have vastly expanded the book’s potential.

Over the past 30 years, the Walker Art Center Library has amassed a significant holding of artists’ books and illustrated volumes that numbers some 1,600 objects. Usually accessible to the public only by appointment, these works, supplemented with pieces from the museum’s permanent collection, are now on view in the galleries for the first time in two decades.

Co-organized by Walker librarian Rosemary Furtak and Walker curator Siri Engberg, the show highlights this important trove of material and showcases examples from a broad range of artistic movements. The books and book-based works on view come from some of the most recognizable names in contemporary art as well as lesser known artists. The process of selecting the works in Text/Messages: Books by Artists was a fascinating endeavor for the curators, who found the premise of the exhibition to be an ideal opportunity to explore many areas within the Walker’s collections. Even in today’s digital age, artists’ continued engagement with books—as medium, material, and subject—is evidence, say Engberg and Furtak, that this is an area of artistic invention alive with ideas and possibilities.”

The exhibition’s identity, graphics and labels, designed by Walker design fellow Noa Segal, reference the card catalog system the Walker Library uses to organize it’s books. The actual call number for each book is beautifully and cleverly used as an informational and graphical basis for the show’s printed materials. In an upcoming post, a conversation between Segal and Walker curatorial fellow Dan Byers, will describe in detail the process and development of the visual identity of Text/Messages: Books by Artists.

Until then, make sure to check out upcoming events related to this exhibition:

ARTIST’S BOOK WORKSHOPS—
THURSDAYS, JANUARY 8, 15, 22, AND 29, 6 – 9 PM FREE
STAR TRIBUNE FOUNDATION ART LAB
Minnesota Center for Book Arts instructor Aki Shibata and artist Sam Hoolihan lead the curious on four bookmaking adventures that utilize audience-generated text messages, photos, found objects, and even paper! All materials will be provided. For details on individual workshops, visit calendar.walkerart.org.

CURATOR TALK—
THURSDAY, JANUARY 15, 7 PM FREE
MEET IN THE MEDTRONIC GALLERY
Text/Messages exhibition curators discuss the history of the Walker’s collection of artists’ books and point out examples of works that have been key contributions to this dynamic area of artistic production.

PANEL DISCUSSION: THE ART OF THE BOOK—
THURSDAY, FEBRUARY 5, 7 PM FREE CINEMA
Free tickets at Bazinet Garden Lobby desk from 6 pm
Artist’s books have always held an important place in the Walker’s collection, yet they are rarely exhibited in the gallery. David Platzker, book dealer/scholar and former director of Printed Matter, Inc., moderates a discussion on the current state of artist’s book production. Panelists include artists Buzz Spector and Harriet Bart, and James Hoff of Primary Information.

Copresented by Minnesota Center for Book Arts and Rain Taxi Review of Books.

MULTIPLES MALL: A BOOKISH FAIR–
SATURDAY, FEBRUARY 21, 11 AM – 4 PM FREE
CARGILL LOUNGE AND LECTURE ROOM
Minnesota artists who make book-related multiples set up shop at the Walker for a day of merriment, complete with short presentations on the history of chapbooks, radical reasons for making multiples, and more. Artists’ books, chapbooks, zines, and other booklike objects will be featured. Come browse the offerings and purchase a piece from this local and thriving creative scene. For a full schedule of activities and a list of participants, visit mnartists.org/multiplesmall.

Copresented by mnartists.org, the Minnesota Center for Book Arts, and Rain Taxi Review of Books.

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In the spirit of Text/Messages, I will be posting in the upcoming month, conversations I’ve had with artists, designers and independent publishers at this year’s NY Art Book Fair about the various books, periodicals, and ‘zines that they’ve put out.

Talking with Kris Latocha of Paperback Magazine at NY Art Book Fair. Photo: Jessica Williams

ASDF’s For a Brief Time Only… is a purchasable exhibition of 24 artists available at a photo developer near you. You can find it at any store that allows file uploading via the internet (including most major US drug-stores). The image files will be sent to the closest location near you, and within minutes you will be able to walk in and pick them up as prints.

This exhibition contains 24 small 4×6 photographic prints contained within the packaging provided by each store. Also included are a contact sheet with all the artists’ information, and a letter to the store employee reassuring that there is nothing wrong with the order.

The artists featured in this exhibition are Ken Ehrlich, John Sisley, Martin John Callanan, Miranda Lichtenstein, Lucky Dragons, eteam, Jim Skuldt, Mira O’Brien, Joshua Kit Clayton, Matt Keegan, Emily Mast, Brian Kennon, Lukas Geronimas, Amy Lam, Paul Pieroni, Moyra Davey, Graham Parker, Paul Branca, Penelope Umbrico, Lucy Raven, Bik Van der Pol, Emilie Halpern, Tim Ridlen, and Vlatka Horvat.

No money is being made by ASDF in this exhibition. You will purchase the show directly from the store (unless you can acquire it another way), which will probably cost around $5. So far this show is available throughout the United States, Canada, and the United Kingdom. If you live elsewhere, and know of a store that meets the necessary requirements, please email ASDF and we will send the show near you.

The show is on view from November 6 to December 4.

For instructions on how to view the show at a location near you, please visit:

http://www.asdfmakes.com/nearyou

ASDFMAKES.com is a web-site that hosts projects by myself and David Horvitz. Most can be translated through digital mediums, enabling free access and reproduction of the files. Some of ASDF’s projects include Are Photographs, a free PDF photography “magazine,” A Wikipedia Reader, a publication that documents different artists travels through Wikipedia, and It’s Easy to Find, a group show that exists inside a P.O. box in Upstate New York. ADSF will mail (real postal mail) anyone who is interested in viewing It’s Easy to Find a postcard that describes how to get to and open the P.O. box.

For our most recent project we are offering 100 $1 grants to all creative projects. Anyone is eligible to apply and there are no restrictions on proposed projects. All forms of creative activity are encouraged! The deadline is Nov 30, 2008.

All accepted proposals will be presented as a downloadable digital exhibition in early 2009. For all the details and the application form go to ASDFMAKES.COM.