Thursday, April 28, 2016
Art Metropole's annual Spring Sale began yesterday and continues through to Saturday, April 30th. Older books, zines and periodicals are marked down between 20 and 50%, with hundreds of titles discounted.
Art Metropole is open from noon to 7pm and is located at 1490 Dundas Street West, Toronto. For more information, visit their website, here.
Labels: Art Metropole
I’ve enjoyed every visit, and every project hosted by the Artists’ Newsstand, but I also think the work is much more than the sum of these parts. I think it’s a brilliant intervention and Jess Dobkin’s unwavering dedication to it is meritorious. It would have been impressive to do for a month, but she took the leap and signed a year-long lease, no doubt underestimating just how much work it would take to keep the project afloat.
The year is up and tonight is the closing party, titled The Last Stand. It’s the final day of Zanette Singh’s installation, and the last chance to stock up on zines, artist multiples, and discounted drinks and confectionary. The booth is open from 3-8pm with the dance party send off (with DJ John Caffrey) running from 5 to 8pm.
Visit the Facebook page here, for more information:
Wednesday, April 27, 2016
Carol June Barton
Rosendale, USA: Women's Studio Workshop, 1988
20 x 20 cm. (extends to 20 x 20 x 25 cm.)
Edition of 150 signed and numbered copies
"Tunnel books", which date back to the mid-18th century, consist of a series of pages held together by two folded concertina strips on each side, to create the illusion of depth and perspective. They are 'read' through a hole in the cover, and were therefore often called "Peep Shows" (as well as "areaoramas", "cosmoramas" and "optiques"). The name “tunnel book” presumably derives from the fact that several of the most widespread examples were produced in the mid-19th century to commemorate the building of the tunnel under the Thames River in London.
Barton's "tunnel book" consists of seven circular pages plus front and back covers show alternating maps of Eastern and Western hemispheres. The layers expand like an accordion.
"Successive layers transport us from one landscape to another as we peer through the cover. The cover contrasts the flatness of the outer world map with actual "topography" depicted in the tunnel."
- The Women's Studio Workshop
“I started playing around with it and came up with the different drawings of the geographic landscapes and put them together.”
- Carol June Barton
New York City, USA: IC Editions & David Platzker, 1994
17.78 x 17.78 x 1.27 cm.
Intended as an unlimited edition (each somewhat unique) and selling for around $50 US, production on the project ceased several years ago and (despite the high number produced) the work is now valued at around $700 US.
“The N.Y.C. Pretzel was developed in response to the request for a special unlimited multiple edition for sale during the exhibition of a historical survey of multiples organized by the Deichtorhallen in Hamburg.
Outside our studio window in New York City each day a vendor rolls out his wagon to offer toasted pretzels, one of many providing quick lunches along Varick Street in the center of the New York printing industry. The wagons display oversize color reproductions, and sometimes three-dimensional versions of the bread.
The pretzel seemed a perfect multiple of the city, as characteristic of a particular place as the Fireplug had been of Chicago. Furthermore, it had a precedent in the development of the Knackebrod.
The request for the multiple coincided with my resolution to dispose of numerous large sheets of three-ply cardboard which had accumulated from past projects in my garage. These had been mainly used for laser-cutting scripts and figures in the model From the Entropic Library (1980-1990). The idea arose to laser-cut the Pretzels from the three-ply cardboard and silk-screen on the shape, a procedure linking the subject further to the paper and reproduction concerns of the neighborhood. Besides, as I knew from previous experience, the laser-cutting would leave a burnt odor, recalling bakery production, but also the odor of toasted chestnuts sold on the street next to the pretzels, which pervaded the air of afternoons near the Holland Tunnel.
I asked David Platzker, my assistant, to go out and buy a representative pretzel on the corner, and used this to develop a pattern for the multiple, which was faxed to the laser-cutting factory in Connecticut. They also received the cardboard residue of the garage, which turned out with economical distribution to yield more than 1000 pretzels.
Since a N.Y.C. Pretzel is nothing without its “salt” - large white crystals stuck to the surface - a drawing of these in six variations was developed and silk-screened on one side over a mat brown color in a nearby studio. A rubber stamp signature completed the piece, and the first group of the multiples was hand-carried by Platzker with instructions to show them threaded on dowel sticks in the New York Style of presentation.”
—Claes Oldenburg, N.Y.C., 1996
Brescia, Italy: Edizioni Massimo Minini, 1993
10 × 3 × 3.5 cm
Edition of 50 signed and numbered copies
A bronze doorstop in a drawstring pouch, boxed. The doorstop is marked 11 Rue Larrey, Paris 5 - the home address of Marcel Duchamp.
Available at Art Metropole, here, for $1200.00 CDN.