October 2, 2014
155 Freeman Street, Brooklyn, NY
In graphic design, what does it mean for a period to have a style? What does it mean for a style to have a proper period? With Period Styles, Triple Canopy examines how aesthetic movements, technological shifts, social networks, and popular sentiments come together in the creation of dominant styles in certain places and at certain times. For instance, consider the mid-century International Typographic Style associated with the Basel School of Design and Armin Hoffmann; the multifarious, if eventually iconic, work and structure of Pentagram, established in 1972; avant-garde Dutch practices such as Studio Dumbar, whose creations from the 1980s and 90s later filtered into American graduate programs. How have the hallmark changes of the past several decades—the rise of the MFA, the ubiquity of design software, the patterns of producing and consuming that characterize the digital environment—changed the ways in which styles are distinguished, deployed, and consolidated?
Participants will identify today’s preeminent styles, discuss their precedents and genesis, and parse their influence and effects. They will also ask if the period style may now be a thing of the past: In light of widespread access to design tools and the incredible speed at which visual identities are formulated and discarded, is graphic design now too profuse and diverse for the period style to be a useful concept? Or, given that period styles tend to reflect centers of capital, esteemed designers, and wealthy clients, how might the period styles of the future be formed or deformed by nascent cultural and geographic orientations?
Speculations (“The future is ______”) is available exclusively, for free, to Triple Canopy members who sign up in the next 24 hours at the laughably low rate of $3 per month.
The book is a lexicon of the central terms of Speculations—a fifty-day series of lectures, discussions, and debates held at MoMA PS1 last summer—and strives to convey the relationship between ideation and action and to suggest viable approaches to interpreting and changing the world. Featuring work by Ray Brassier, Ted Chiang, Jace Clayton, Samuel Delany, Silvia Federici, Rivka Galchen, N. Katherine Hayles, Josh Kline, Rachel Kushner, Lynn Hershman Leeson, Naeem Mohaiemen, Evgeny Morozov, Hương Ngô, Trevor Paglen, Christian Parenti, Srikanth Reddy, David Rieff, Kim Stanley Robinson, Norman Rush, and Astra Taylor.
Out of Alternatives
Presented by Common Practice New York
and Center for Curatorial Studies, Bard College (CCS Bard)
Artists Space Books & Talks
55 Walker Street, New York, NY
Sunday, May 18, 2014
11:00 a.m.–5:00 p.m.
On May 18, Common Practice New York will present Out of Alternatives, a symposium on the role of small-scale arts organizations in New York City, hosted by Artists Space Books & Talks and co-presented by CCS Bard. Participants include Rhea Anastas, Katherine Brewer Ball, David Joselit, Ralph Lemon, Stephen Levin, Park MacArthur, Nadja Millner-Larsen, and Andrea Fraser and Lise Soskolne for Working Artists and the Greater Economy (W.A.G.E.), with additional presentations and support from CCS Bard students Sabrina Blaichman, Neringa Cerniauskaite, Andrew Kachel, Clara Lopez, Cloé Perrone, and Carla Acevedo-Yates.
Out of Alternatives, the first public initiative by CPNY, will examine the ways in which small-scale organizations are perceived and understood by audiences, artists, and funders; identify the challenges of operating in today’s climate; and revive discussions of obstacles and inequalities which have persisted since the rise of the alternative space. Out of Alternatives will further a partnership between CPNY and CCS Bard that began in fall of 2013 with a series of invitational roundtables, site visits, and discussions. This partnership will continue with the production of a publication that will include transcripts from these events alongside additional essays and artistic contributions.
Space is limited, seating is first-come, first-served.
11:00 a.m.–12:00 p.m.
Keynote: “In Praise of Small”
Art historian David Joselit will ask whether there is a particular ethos possessed by small-scale organizations and, if so, how does it operate within the greater field? By reframing small-scale organizations as propositions unto themselves, Joselit will discuss how publics emerge from these spaces; the relationship between scale and radicalism; the importance of documentation; and the ability to speculate, politicize information, and re-signify art beyond its profit-making potential. Joselit will be introduced by members of Common Practice New York and Paul O’Neill, director of the graduate program at CCS Bard.
New York City Council Member Stephen Levin and the activist group Working Artists and the Greater Economy (W.A.G.E.)—represented by artists Andrea Fraser, board member, and Lise Soskolne, core organizer—will each present propositions for the city’s cultural policy. Both plans address the economic challenges facing artists and ways of combating inequality. Taken together, their proposals question how structures for art production, presentation, and reception are shaped and surveyed, especially with regards to the role of small-scale nonprofits. Do such organizations have a responsibility to local artist communities? How can these organizations successfully argue for their importance at the level of city government?
Artists Ralph Lemon and Park McArthur and scholar Katherine Brewer Ball will discuss how performance, deliberately or incidentally, adapts to the scale and audience of an organization. How is the radicalism of a performer’s proposition changed as a result? The academic field of Performance Studies considers performance as a sprawling category—one that encompasses social life and is inherently interdisciplinary and site-responsive. What can performance tell us about the changing relationship between small-scale organizations and their publics? With research and support by CCS Bard students Andrew Kachel and Clara Lopez.
CCS Bard students and curators Sabrina Blaichman, Neringa Cerniauskaite, andCloé Perrone will present three propositions for small-scale organizations, informed by the work of proliferating, agile, artist-led collectives. What methodologies might organizations adopt from collectives that have embraced so-called capitalist infrastructures and “accelerationist” strategies? In a landscape where both models coexist, even thrive, what challenges do artists and curators face when attempting to envision the future?
Art historian Rhea Anastas, media historian Nadja Millner-Larsen, and Light Industry cofounder and director Ed Halter, will discuss whether small-scale organizations establish a kind of instant art history, serving museums and culture-at-large as test sites for new artistic practice. What is the responsibility of an organization to address pressing social and political concerns with “instant” programming? Likewise, can an organization’s history—its archive, its public-as-archive—provide an ethical roadmap for its future? With research and support by CCS Bard student Carla Acevedo-Yates.
Common Practice New York would like to thank Rebecca Gordon-Nesbitt, David Joselit, Margaret Lee, Ralph Lemon, Allan Schwartzman, and Lynne Tillman, whose contributions to our invitational roundtables this past fall have informed and inspired Out of Alternatives. Generous support for Common Practice New York and Out of Alternatives has been provided by the Andy Warhol Foundation for the Visual Arts, Lambent Foundation/Fund of Tides Foundation, and Outset USA.
The Penitentiary is a collaborative umbrella project by artists Marina Andrijcic-Ojeda and Catarina Ferreira—operating a series of independent, site-specific art exhibitions to take place in abandoned war-era prisons throughout Eastern Europe. The Battery Project is The Penitentiary’s first exhibition and will take place at Patarei Prison, located in Tallinn, Estonia, June 1–July 1, 2014.
For other interventions into Cold War bunkers, see Lisi Raskin’s "Endgame Tourism" on Triple Canopy.
Image: David Baumflek.
Triple Canopy editor Molly Kleiman, with Ava Ansari, talks to Media Farzin about their upcoming telepresence workshop, connecting arts spaces in Tehran, Isfahan, and New York (hosted by La Mama’s Culture Hub).
In advance of their workshop in late April, Six Degrees invited critic and art historian Media Farzin to speak with the Back Room Codirectors Ava Ansari and Molly Kleiman about the urgencies that motivated their project’s formation in 2010 and the questions that have shaped its evolution since. Read the conversation here.
Six Degrees, as an editorial platform that feeds into and out of New Museum programming by functioning as a space for expanded dialogue, research, and reflection, will be inviting different artistic, curatorial, and educational initiatives to consider their own structures and material conditions for production.
Media Replication Services
Triple Canopy with Caroline Bergvall, Lisa Gitelman, and William Pope.L
Whitney Museum of American Art
Saturday, April 26th, 2014
How are the status and meaning of an artwork—whether an Ancient Greek statuary, a digital photograph, or an American naïve painting—altered through the creation of facsimiles, through exhibition, through the conversion of the object into image or code? How might reproduction, as an aesthetic strategy and a political act, present us with alternatives to the current, convoluted understanding of information as property? Media Replication Services will consist of presentations, performances, and provocations in response to these questions by artist William Pope.L, scholar Lisa Gitelman, and poetCaroline Bergvall, facilitated by Triple Canopy editors. The three participants will consider, as points of departure, forms of reproduction enacted in Triple Canopy’s 2014 Biennial installation, Pointing Machines.
Media Replication Services and the installation at the museum are components of Triple Canopy’s contribution to the Whitney Biennial, an issue of its magazine also titled Pointing Machines, which continues the reproduction and circulation of the displayed objects beyond the museum’s walls, and includes essays, artist projects, discussions, and performances to be published and presented online and IRL in the next year. Media Replication Services will later be represented as digital projects in this issue, alongside commissioned responses by writers.
TRIPLE CANOPY’S SUMMER INTENSIVE
June 16–27, 2014
Apply online through April 7
What: A two-week intensive in contemporary writing, art, digital media, and the practice of publishing.
Where: 155 Freeman Street, Triple Canopy’s Brooklyn offices and venue, and sites throughout New York City.
Cost: Tuition and materials are provided free of charge. A modest stipend will be offered to all accepted participants to support travel though accommodations are not provided.
Triple Canopy announces its first Summer Intensive, a two-week program in the history and contemporary practice of publication, for twelve higher-level college students, graduate students, and recent college graduates. We invite applications from prospective students with backgrounds in areas such as writing, art, literature, art history, new media, and design.
During the Summer Intensive, Triple Canopy editors and invited artists, writers, and technologists will lead discussions and workshops with participating students, who will research, analyze, and enact an approach to publication that hinges on today’s networked forms of production and circulation but also mines the history of print culture and artistic practice. The program will take place at Triple Canopy’s venue in Greenpoint, Brooklyn, and will include visits to studios, archives, and cultural institutions.
The Summer Intensive will address such questions as: How have artists, writers, and designers historically used the pages of magazines and books as sites of and material for experimentation? How have new-media publications challenged conventions of authorship and reception, only to have those very challenges soon become the foundation of the new economy? How have artists, writers, designers, and technologists responded to ensuing changes in the media landscape? And how have responses differed in areas with disparate resources and relationships to technology? What are the politics of access and identity associated with online public forums and media?
Purchase Eve Fowler’s series on Triple Canopy:
Eve Fowler, A Spectacle and Nothing Strange
These posters are from a set, entitled A Spectacle and Nothing Strange (2011-12), by the American artist Eve Fowler. The series consists of brightly-coloured posters printed with fragments of text taken from Gertrude Stein’s book Tender Buttons (1914). The phrases are printed over a range of colourful gradients, and draw attention to the flexibility and queerness of language. Produced in letterpress by the now defunct Colby Poster Printing Company in Los Angeles, the posters were distributed by Fowler throughout the city in a manner similar to concert promos and other advertisements.
Triple Canopy’s 2014 Call for Proposals: Deadline Monday, March 10
With the launch of Triple Canopy’s new publishing platform, the magazine invites proposals for new work to be developed by artists and writers in collaboration with Triple Canopy’s editors in the coming year. The editors look forward to working with contributors on research, writing, performance, and visual material related to new projects—as well as on the eventual digital and/or print design of contributors’ work.
Commission recipients receive:
- Eight to twelve months of artistic, editorial, and technical support
- $500 honorarium
- Opportunity for inclusion in our annual print publication, Invalid Format: An Anthology of Triple Canopy
- Opportunity to use Triple Canopy’s space at 155 Freeman for a performance or other public event
- Coordination and production of any print publication or live event
- Archiving of materials and long-term maintenance of any online version of the project by technical staff
Submissions to Triple Canopy’s 2014 call for proposals may be made via the online form. The deadline for submissions is March 10, 2014. Triple Canopy 2014 commission recipients will be announced April 22, 2014.