Various Artists
‘In The Canyon, Revise The Canon’ (english edition) (SP061)

In The Canyon, Revise The Canon

In The Canyon, Revise the Canon (english edition)

Technical

2015, English edition
14 x 21 cm, 208 pages
18 contributions
20 b/w ills.
softcover
ISBN 978-2-36582-012-7
€16.00

Credits

Ed. Geraldine Gourbe
Copyeditors Geraldine Gourbe & Emily Mast
Proofreaders Vera Brunner-Sung
Design Bartolomé Sanson
Publishers Bartolomé Sanson & Stéphane Sauzedde

Published by Shelter Press, in collaboration with ESAAA, Ecole Supérieure d’Art de l’Agglomération d’Annecy

Out on Apr. 01, 2015

With contributions by

Mark Allen, Juliette Bellocq, Vera Brunner-Sung, Nancy Buchanan, Carol Cheh, Matthew Coolidge, Jill Dawsey, François Esquivié, Rita Gonzales, Géraldine Gourbe, Robby Herbst, Walter Hopps, Robert Irwin, Chris Kraus, Leslie Labowitz, Suzanne Lacy, Fred Lonidier, Pauline Oliveros, Elana Mann, Emily Mast, Senga Nengudi, Janet Sarbanes, Annette Weisser, Joshua Young, Andrea Zittel

About (en)

Before the onset of the social and cultural backlash that was brought on by the Reagan administration in the early eighties, Southern California was ripe territory for the genesis and development of emancipation movements for and by African Americans, Chicanos, pacifists, Marxists, feminists and homosexuals.
Starting in the late sixties, these revolutionary waves particularly influenced practices such as performance art, video, installation and collaboration, which led to the construction of alternatives like artist-run spaces, non-profit spaces and artist-run community art spaces.
In Santa Barbara, Los Angeles and San Diego, collaborative public action was constructed around utopian knowledge which was then redirected towards universities and art schools that favored the emergence of radical pedagogies.
These other manners of experimental thinking, doing and teaching permitted artists to deconstruct certain canons that were inherited from European tradition and art history, and provoked a reexamination of “the American way of life”. In the Canyon, Revise the Canon.

About (fr)

Avant l’avènement du backlash social et culturel au début des années 80 initié et mené par le gouvernement Reagan, le sud californien a été un territoire privilégié pour la genèse et le développement des mouvements d’émancipation afro-américain, chicano, pacifiste, marxiste, féministe et homosexuel.
À partir de la fin des années soixante, ces ondes révolutionnaires ont particulièrement influencé des pratiques comme la performance, la vidéo, l’installation, l’art collaboratif ou œuvré à l’édification de réseaux alternatifs tels que les artist-run space, non-profit space et artist-run community art space.
Entre Santa Barbara, Los Angeles et San Diego, l’action collective publique s’est construite autour de savoirs utopiques essaimés à leur tour dans les universités ou les écoles d’art favorisant l’émergence d’une pédagogie radicale.
Ces manières autres ou encore expérimentales de penser, de faire et d’enseigner l’art ont permis une déconstruction de certains canons hérités d’une tradition et d’une histoire de l’art européennes tout en œuvrant à la remise en cause de l’american way of life. In the Canyon, Revise the Canon.

Malin Gabriella Nordin
‘Fruits of Yesterday’s Harvest’ (SP058)

Malin Nordin Shelter Press
Malin Nordin Shelter Press
Malin Nordin Shelter Press

Malin Gabriella Nordin ‘Fruits of Yesterday’s Harvest’

Technical

24 pages
14 x 20 cm
black / white offset
2015
first edition of 1000 copies
saddle stitched

Credits

All works by Malin Gabriella Nordin
Art direction, editing and design by Tony Cederteg

About the artist

My work consists of fragments reconstructed from memories, dreams and surroundings where past and present no longer work as isolated units. My overall process is my own game of telephone, where I move between different mediums and techniques. Something that started out as a collage on paper might become a sculpture and later a painting from another point of view, constantly changing in the search for the right medium and size for each piece. These changes in material, size and technique always involve a translation in process. During the process the qualities change but also how I think about the piece. It becomes a new character with different qualities and abilities, or sometimes, it’s still the same character but with new features.

About the Book

Hey you
you there
why don’t you walk right in, it’s okay
turn to the left, a little bit further, now you’re in front of a new territory
never been here or seen it before, it’s time to explore these feelings of yours.

Look upstairs, it’s getting hot
the air is rare cause there is something funny in a big scale
what can it be, is it smiling at me
following me, like if I was its key
there is more out there, but we’re just passing through, crossing paths, I’m your clue.

Just follow the line
it’s all up in the sky
stormy weathers passing by
I see you, don’t think you can escape
I will blow you in other directions to the ones you can’t ache.

Anything can in the end, break away from someone’s gaze
that is what is up right now and what is not will down your mouth.
Watch your step it’s getting wet, let’s find a way to stand up straight
don’t count to grey, it’s all these in-betweenness that keeps me A OK.

Let’s give some space for the ones that shine
bright and purple, eyes come closer
drying up ’til all crust falls off
getting splashed, confusion grows in a massive class rap.

Step it up, shake it well, give it all, celebrate, crossing fingers, eyes don’t lie
making patterns in the sky, mourning, yearning calculate, all these colors join embrace
shades on top of each other like memories of lost space
keeping company, letting be, keep on counting, soon we’ll be free.

Wild and free as we can be, thick and red, coming together, pulsating now and for ever
full frontal and down through a hole, revisit the darkness, black is low
changing colors, moving by, a couple steps further and you will roll over
let all tears sail away when the horizon come closer, memories fade and the sun keeps us pale.

These are the fruits of yesterday’s harvest, silk worms are working, the mass is falling
let there be light, neither day nor night
wave your flag
raise it high
let’s get wasted
and cruise right by.

Text by: Alexandra Karpilovski

Chris Duncan
‘Moon’ (SP057)

chris duncan shelter press

Chris Duncan ‘Moon’

Technical

46 pages / 23 imaegs
21 x 29,7 cm
black risograph
2014
first edition of 100 copies
saddle stitched

About the book

Risographed variations on moon pictures standing as a spontaneous reflexion on print making.

Chris Duncan is an Oakland-based artist who employs repetition and accumulation as a basis for experiments in visual and sound based media. Often in flux between maximal and minimal, Duncan’s work is a constant balancing act of positive or negative, loud or quite, solitary or participatory and tends to lead towards questions regarding perception, experience and transcendence. Outside of his studio practice he organizes events and runs a small artist book press and record label called LAND AND SEA with his wife. Duncan earned his BFA from the California College of Arts and Crafts and his Masters Degree in Art Practice from Stanford University.

Suzanna Zak
‘Sun + Soil / Moon + Dirt {Bootleg}’ (SP056)

SP056 SUZANNA ZAK
SP056 SUZANNA ZAK
SP056 SUZANNA ZAK
SP056 SUZANNA ZAK

Suzanna Zak ‘Sun + Soil / Moon + Dirt {Bootleg}’

Technical

58 pages
21 x 29,7 cm
black risograph
2014
first edition of 120 copies
saddle stitched

About the book

*** Risographed bootleg of this 2013 publication.
Suzy brilliant debut as a concrete poet.
A few photographs has randomly sneaked in the bootleg. ***

from Suzanna Zak to Shelter Press – may 20th; 2013
« I will be spending a lot of my Summer living in a tent in Northern Canada picking morel mushrooms. I will be living in the bush and won’t really have much access to internet / phones / etc etc. At first I wanted to give you guys writing before I left for this trip, however, I’m thinking at this point working on this poetry project on my off time during picking couldn’t be more appropriate. I have a decent amount written already but I think creating under the circumstances of living in the woods would be really nice. I’ll have time to focus on a solid grouping of works. »

Alberto García del Castillo
‘Retrospective’ (SP052)

albert-garcia-del-castillo-shelter-press
Alberto Garcia del Castillo Shelter Press
Alberto Garcia del Castillo Shelter Press
Alberto Garcia del Castillo Shelter Press

Alberto García del Castillo ‘Retrospective’

Technical

58 pages
11 x 18 cm
black & white
perfect bound / soft cover
first edition of 1,000 copies
2014

Sold out at source

Retail and wholesale

Les Presses Du Reel (BE/CH/FR)
Antenne Books (UK/Rest of Europe)
Motto Distribution (Germany)
Printed Matter (USA)
Perimeter Books (AUS/NZ)

Credits

Contributions:
B. Boofy and William Bonifay, Lars Laumann, Jurgen Ots, César Segarra

Copyediting and proofreading:
Liz Allan and Marnie Slater

Design:
Bartolomé Sanson

Support:
Wallonie-Bruxelles International and RUPERT

About the book

Alberto García del Castillo’s first novel, Retrospective, is a comedy-science-fiction novelette about ‘faggotry’ and the art world; depicting a retour-au-passé in contemporary painting and waving to some of the most beautiful homosexuals on Earth. Flaunting otherness, the alert reader can follow a clerk of The Land of Sculptures whilst he encounters the pretty faces of The Painter, The Foreign Painter, The Tyrolese Painter and other people doing art. Retrospective includes “Thumbs-Up”, a superficial analysis of the normalisation of gayness; “Why Homos Are Better”, a masterpiece of investigative journalism in two parts, that originally appeared in Agony 2 (circa 1988–93), a zine edited by B. Boofy and William Bonifay; a drawing by Jurgen Ots; a photograph by César Segarra; and a poem by Lars Laumann.

Download the first chapter in PDF

About the author

Alberto García del Castillo writes genre fiction and non-fiction about communities and queer, performs his own and other people’s writings, and collaborates in multiple configurations. He has published his writing in Girls Like Us, co-edited Midpoint (Théophile’s Papers, 2016) and his debut novel Retrospective was published by Shelter Press (2014). Alongside Marnie Slater, is the co-curator of Buenos Tiempos, Int.

Readings

CAC, Vilnius (25 Nov. 2014)
Etablissement d’en face, Brussels (13 Dec. 2014)
ERG (Ecole de Recherche Graphique), Brussels (16 Jan. 2015)
Super Salon, Warsaw (19 Mar. 2015)
San Serriffe, Amsterdam (16 Apr. 2015)
J’En Suis J’Y Reste (LGBTQIF Centre), Lille (9 Jun. 2015)
Frans Hals Museum, Haarlem (13 Jun. 2015). Curated by Nieuwe Vide.
Treignac Project, Treignac (31 Jul. 2015). Curated by DATE.
La Cambre, Brussels (12 Oct. 2015)
Horseandpony Fine Arts, Berlin (19 Jan. 2016)
X Bienal de Nicaragua, Managua (14 Feb. 2016)
AIR Antwerpen, Antwerp (20 May 2016)

Previously published chapters

Kopioitu (Brussels: Komplot, 2013)
YEAR magazine (Brussels: Komplot, 2013)

Felicia Atkinson
‘Improvising Sculpture As Delayed Fictions’ (SP050)

felicia-atkinson-shelter-press
felicia-atkinson-shelter-press
felicia-atkinson-shelter-press
felicia-atkinson-shelter-press
felicia-atkinson-shelter-press
felicia-atkinson-shelter-press
felicia-atkinson-shelter-press
felicia-atkinson-shelter-press

Felicia Atkinson ‘Improvising Sculpture As Delayed Fictions’

Technical

200 pages
13,5 x 20 cm
black & white
2014
first edition of 1000 copies
perfect bound / soft cover

About the artist

Felicia Atkinson is a French artist and musician graudated with honors from Les Beaux-arts de Paris.

She’s working mostly on site specific installments, paintings, drawings, texts, sculptures, music and performances through the prism of improvisation and instant composition.

Those permanent loops and impermanent objects are driven by the concepts of delay, reverberation, noise, ready mades, musique and sculpture concrete, experimentation, imagination, as so many possible “dérives” into the material frames that stand for the gallery, the book or the record.

 

About the book

Improvising sculpture as delayed fictions is the first monograph dedicated to the work of the French artist and musician Félicia Atkinson.

This books articulates her unique way of working through images and fiction: the painting and drawings will discuss the codes of improvisation with objects, sculptures, persons, landscapes.
It’s this very space hosted by the book that talks, the space of the studio, the space of the gallery, of the music or the page, physical or digital. One inside the other, as some kind of surrealistic russian doll.
As a statement disguised in a poetic novel, everybody is a foreigner, camping on some perishable and transitory spaces. The fiction allows the inner voices to become images and the archives of the pieces to shift into characters. Loops, distortions of the reality, imaginary meanings are playing together.
The books becomes a proper and new territory where art forms stand up and speak for themselves, where genres are shifting in a joyous revolution.

A propos du livre

Improvising sculpture as delayed fictions (improviser la sculpture comme des fictions différées) est la première monographie de l’artiste française Felicia Atkinson. Artiste et musicienne, son travail conjugue les codes de l’improvisation avec la sculpture, la peinture, le texte, le son et la performance. L’espace parle : qu’il soit présent (exposition, performance) ou déplacé (livre, disque, internet).

Conçu comme un texte de fiction poétique – en anglais, langue volontairement étrangère à l’auteur – ce livre rassemble textes et images sans dissociation. Les sculptures dialoguent avec l’espace de la page, les voix intérieures des objets font chœur avec des personnages imaginaires, des spectres critiques, des boucles bruitistes, et des retours à la ligne.

Le livre devient espace d’exposition, un terrain de jeu pour l’improvisation dans lequel le lecteur est invité à se perdre.
Improvising sculpture as delayed fictions se lit en temps réel, les œuvres se présentent à l’esprit, parfois bavardes, parfois silencieuses, toujours déplacées. Il s’agit d’improvisation, de composition instantanée. Chorégraphier sans domination les objets, mélanger les étiquettes, les mediums et les mots. Leur donner une place nouvelle, un genre nouveau, et laisser surgir le temps, l’autre, l’erreur et l’orage.

Peter Sutherland
‘Flames’ (SP049)

Peter Sutherland Shelter Press Zine
Peter Sutherland Shelter Press Zine
Peter Sutherland Shelter Press Zine

Peter Sutherland ‘Flames’

Technical

28 pages
17,5 x 27 cm
color (digital)
2014
first edition of 200 copies
saddle stitched

Credits

All works by Peter Sutherland

About the Book

Smoke!

and

Fire!

About the artist

Peter Sutherland lives and works in NY, USA. His films, photography, publications, and installations are intimate documents of his extensive travels, collages of encounters that form spontaneously interconnected narratives.

Travelling around the USA, Sutherland has photographed a variety of Americana imagery, from the East to the West coast. By overlaying and collaging his own photographic material, he makes associations with pop and cult imagery, opening up possibilities for interpretation. Printed onto perforated vinyl and glued onto standard plywood, or onto rocks bought by the artist at flea markets in Arizona.

Recent solo exhibitions include Whitecube (London, One Bar of Service, Stillhouse Gallery (Brooklyn); Extreme Terrain (with Andrew Sutherland), Bill Brady KC Gallery (Kansas City); and Victory Over Darkness, Half Gallery (NYC). He frequently collaborates with his brother, Andrew Sutherland, and with the Brooklyn-based collective, Still House Group



Peter Gizzi
‘Marigold & Cable’ (SP046)

Peter Gizzi Shelter Press

Peter Gizzi ‘Marigold & Cable’

Technical

48 pages
14 x 21 cm
bw xerox
2014
first edition of 100 copies
saddle stiched

SOLD OUT

About the book

Comes with the first 100 of Alex Cobb ‘Marigold & Cable’ (SP040)

Peter Gizzi was born on August 7, 1959, and grew up in Pittsfield, Massachusetts. He holds degrees from New York University, Brown University, and the State University of New York at Buffalo. His books include In Defense of Nothing: Selected Poems, 1987-2011 (Wesleyan University Press, 2014); The Outernationale (Wesleyan University Press, 2007), Some Values of Landscape and Weather (2003), Artificial Heart (1998), and Periplum (1992). He has also published several limited-edition chapbooks, folios, and artist books. His work has been widely anthologized and translated into numerous languages.

Félicia Atkinson & Bartolomé Sanson
‘The Last Frontier’ (SP042)

Bartolome Sanson Shelter Press Atkinson
Bartolome Sanson Shelter Press Atkinson
Bartolome Sanson Shelter Press Atkinson
Bartolome Sanson Shelter Press Atkinson

Félicia Atkinson & Bartolomé Sanson ‘The Last Frontier’

Technical

36 pages
20 x 26 cm
4 colors risograph
2014
first edition of 300 handnumbered copies
black saddle stiched

Published at the occasion of “The Last Frontier“
An exhibition by Félicia Atkinson & Bartolomé Sanson
Oslo 10, Basel (CH)
March 8th until May 3rd 2014

About the Book

From the french alps to new mexico, passing by Big Sur California, Felicia Atkinson & Bartolomé Sanson has been doing researches about the influences of the beat generation on the formations of the contemporary art.
How to be unsettled and in the meantime on site, connected to the landscape, ping-ponging from music to poetry, inside and outside the gallery space and the book form. Blurring everyday the frontier between genres, this book conceived as an on-site exhibition presents found images, sculptures, poetry and painting.

Keywords

Yuccas / silk / sun / Ojai Valley / aquarelles / Henry Miller / wood / documentation / Arizona / clay / songs / Big Sur / drive / pool / Petrified Forest / mountains / canyons / improvisation / Joshua Tree

Anne Laure Sacriste
‘Orion Aveugle’ (SP041)

Shelter Press / SP041
Shelter Press / SP041
Shelter Press / SP041
Shelter Press / SP041

Anne Laure Sacriste ‘Orion Aveugle’

Technical

48 pages + 2 inserts
16.5 x 23 cm
full color offset
2014
first edition of 700 copies
perfect bound
hard cover

All works by Anne Laure Sacriste
Layout by Bartolomé Sanson

About the artist

Anne Laure Sacriste (1970) is a paris-based visual artist.
Her works have been exhibited in Paris (Air de Paris, Galeries des Galeries Lafayette, Lafayette, Fondation d’entreprise Ricard, Art : Concept…), in France (Musée d’art moderne Saint Etienne, Villa Betarix Enea, Anglet, Château d’Avignon, Arles…) as well as in the rest of the world (Fri-Art, Fribourg – Suisse, Galerie Hadrien de Montferrand, Pékin, Chung King Project / François Ghebaly, Los Angeles…).

About the book

With the same image of Freud’s divan on its front and back covers, Orion Aveugle, Anne Laure Sacriste’s new artist’s book, offers a selection of recent paintings marked by an intensification of the characteristics we have come to know: monochrome grounds, vegetal motifs and visual anamneses. Borrowing the principle of free association (here, of pictures) from psychoanalysis, she also includes a fragment from Nicolas Poussin’s Blind Orion Searching for the Rising Sun. This is her simultaneous subversion of the ideals of classical clarity and analytical decoding: we can see only thanks to blindness and dazzlement.