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?
Agency, Asceticism, Autonomism, Automation, Guaranteed Basic Income, Communization, Crisis, Democracy, Debt, Detroit, Disappointment, Domes Extinction, Hedge-fund Utilitarians, Hurricane Sandy, Innovation, Interplanetary Colonization, Moravec’s Paradox, Nature, No Future, Occupation, Promethianism, Resignation, Singularity, Solutionism, Speculation, State, Surveillance, Technological Unemployment, Work, Zombies, Trayvon, Justice, Enhancement, Famine, Overpopulation, Governance, Geoengineering, Localism, Science Fiction, Silicon Valley, Technology, Quantified Self, Scarcity, Posthumanism, Robots …
Speculations (“The future is ______”), the upcoming book from Triple Canopy, is a lexicon of the central terms of Speculations, is meant to convey the relationship between ideation and action, in order to suggest viable approaches not just to interpreting the world but to changing it.
Each entry consists of edited excerpts from speculations made by, among others, Fatima Al Qadiri, David Auerbach, Gopal Balakrishnan, Ray Brassier, Ted Chiang, Jace Clayton, John Crowley, Samuel Delany, Silvia Federici, Rivka Galchen, David Graeber, N. Katherine Hayles, Katie Kitamura, Josh Kline, Benjamin Kunkel, Rachel Kushner, Lynn Hershman Leeson, Mary Mattingly, Naeem Mohaiemen, Evgeny Morozov, Hương Ngô, Trevor Paglen, Ashwin Parameswaran, Christian Parenti, Srikanth Reddy, David Rieff, Taryn Simon, Kim Stanley Robinson, Norman Rush, Sukhdev Sandhu, Astra Taylor, Mierle Laderman Ukeles, and Kathi Weeks. The book includes new artwork by José Léon Cerillo, who created the structure that housed Speculations at MoMA PS1.
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.
How are artworks altered through the creation of facsimiles? This Saturday, poet Caroline Bergvall, scholar Lisa Gitelman, and artist William Pope.L respond to this question, facilitated by Triple Canopy editors. Get your tickets now.
Triple Canopy, Pointing Machines I (Chestertown, Maryland), 2013. Pigmented inkjet print, 22 1/2 × 15 in. (57.2 × 38.1 cm). Collection of Triple Canopy
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.
Triple Canopy’s contribution to the exhibition is an installation titled Pointing Machines, after the simple eighteenth-century measuring tool for reproducing sculpture in stone or wood with a system of adjustable rods and needles.
Triple Canopy asks how the meaning of artworks shifts as they are commissioned, made, collected, disowned, replicated, photographed, exhibited, and published, taking into account the role of circulation systems as varied as the Metropolitan Museum of Art and eBay. The magazine’s installation for the Biennial connects the history of reproduction by technical and artistic means to the recent, remarkable collapse of the difference between objects and information. Triple Canopy treats paintings and furniture as data to be manipulated, but also asserts that each instance of reproduction can be generative and enriching.