Collected materials for and during the Soft Publishing course taught by Cortney Cassidy
by J.H. Willis, University Press of Virginia, 1992
Website for Kim Kleinerts Bachelor Thesis. 2023 HFBK Hamburg
The Hogarth Press was founded by Leonard Woolf and Virginia Woolf in March 1917 in their own home: Hogarth House in Richmond, Surrey. Its origins were multifarious – part hobby, part creative and artistic enterprise – and reflected the Woolfs’ needs during the pressures of wartime to find some engaging relief from the strains of literary, journalistic and political activities. In his autobiography, Leonard draws attention to his concerns about Virginia’s mental health, “It struck me that it would be a good thing if Virginia had a manual occupation of this kind which, in say the afternoons, would take her mind completely off her work” (Beginning, 233). Both were excited about the creative potentialities and artistic licence of self-publishing. “We are thinking of starting a printing press, for all our friends stories. Don’t you think it’s a good idea?” wrote Virginia to Lady Robert Cecil in October 1916 (Letters 2:120).
Stein connects World War I’s influence on the shifting consciousness of the citizens and soldiers of those nations involved to the role of Modernism in the evolution of the arts. Written in the winter of 1925–26 and delivered as a lecture to the Cambridge Literary Club and at Oxford University that summer. It was published later that year by Leonard and Virginia Woolf’s Hogarth Press.
The Garden of Ian Hamilton Finlay
How the mechanic-poet William Blake harnessed the physicality of the printing press to make his own illustrated books
Fluxus arrived in the mail. It was formed and fueled by the international postal system. Even before the publication of Fluxus 1—with envelopes as pages packaged in a unique ready-to-mail container—delivery by mail was a necessary and vital element for those involved. The proto-Fluxus book An Anthology reproduced a facsimile letter, Plans of Action—complete with envelope—by Dennis Johnson. George Brecht and Bob Watts’ Yam Festival—an American parallel to early Fluxus activities—was constituted largely as a series of postal events. From the organization of the European Fluxum Festorum to George Maciunas’s erratic Newsletters, the mail informed and inflected the fluid ideology of the group, of which perhaps the most radical gesture was the Fluxus Mail-order Warehouse. And just as these elements were configured in part by the conventions of the post office, Fluxus in its turn shaped many communities of Mail Art. In their ambition to connect dimly discerned international communities within the experimental arts, the loose coalition of Fluxus artists provided models for correspondence artists. Mail Art’s enthusiasm for anthology, stylistic heterogeneity, gender and geographic diversity, publishing acumen and imagination, devolved administration, and overarching sense of humor are direct repercussions of Fluxus’s modalities. Fluxus was disseminated by mail and spread across Europe, Japan, and America during the 1960s, and Mail Art continued the development and circulation of these ideas across oceans and political divides through the next decades.
Elliott Cost: How the Internet Phone Book was made
08.13.26 (barn quilt)
06.26.26_b (aspara)
06.26.26_a (capsule)
06.06.26 (gothic)
05.31.26 (mother poster)
05.27.26 (neogeo)
04.13.26 (rood)
03.27.26 (mosaic)
02.02.26 (late classic second-phase)
12.16.25 (philadelphia pavement)
12.09.25 (diamond in the square)
11.21.25 (blinds)
11.11.25 (ohio star)
09.16.25 (jack)
09.15.25 (sweepers)
08.07.25 (setbacks)
06.19.25 (patrol)
06.17.25 (blps)
06.05.25 (taxi riddim)
04.18.25 (babel)
04.10.25 (snake)
03.18.25 (after Anni Albers)
01.30.25 (crash test)
12.18.24 (weave)
12.11.24 (inductor)
11.19.24 (harlequin)
11.14.24 (stained glass glitch)
11.07.24
11.04.24
10.29.24 (Parcheesi)
10.28.24 (Parcheesi)
10.09.24 (after Irwin Rubin)
09.24.24 (after Irwin Rubin)
09.23.24 (after Irwin Rubin)
09.22.24 (after Irwin Rubin)
09.21.24 (after Irwin Rubin)
09.11.24 (after Irwin Rubin)
06.20.24
06.18.24
04.08.24
03.06.24
03.04.24
01.19.24
01.12.24
09.28.23
09.27.23
08.23.23
08.22.23
08.16.23
08.01.23
06.04.23
05.29.23
04.05.23
03.21.23
03.06.23
02.24.23
02.13.23
01.27.23
01.18.23
01.11.23
01.09.23
12.27.22
12.12.22
12.07.22
12.06.22
09.21.22
08.10.22
06.03.22
05.31.22
05.23.22
05.19.22
05.12.22
05.02.22
04.16.22
04.14.22
04.11.22
03.29.22
03.26.22
03.21.22
03.18.22
03.17.22
03.15.22
03.10.22
03.08.22
03.07.22 (after Pucelle)
03.02.22 (Random article #2)
03.01.22 (Random article #1)
02.28.22
02.27.22
02.21.22
02.15.22 (first attempt, after Pistoletto)
02.09.22
02.02.22
01.27.22
01.24.22 (after Moholy-Nagy)
01.18.22
01.16.22
01.14.22
01.13.22
Introducing the first installment of Urditions’ Ur-California Bootlegs series: Morrow Mayo’s 1933 landmark history of the City of Angels, Los Angeles. Branded “a trashy and sensationalist history” by some, and “certainly not one of the most accurate books ever written about local history” by others,* Los Angeles nonetheless became a cornerstone in the popular historiography of the region, most notably in its influence on Carey McWilliams’ classic Southern California: an island on the land. Long out of print, Urditions is delighted to bring this sensationalist account of early L.A. back in bootleg form, with a new preface written by the Institute.
Wiki for Arts and Studies
Other Books and So was a pioneering artist-run bookstore and gallery founded by Ulises Carrión in Amsterdam from 1975-1979. Other Books and So was the first bookstore dedicated specifically to artists' publications: visitors to the shop could browse a selection of artists' books, magazines, postcards, sound works, and multiples produced by experimental artists and writers from around the globe.
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PrePostPrint highlights experimental publications made with free software
AND Publishing "Working in The Edges" book launch at The Showroom, London 20 Jan 2014 ; Photo Eva Weinmayr 1. "One publishes to find comrades!" (1997: 52) This declaration by Andre Breton is a fitting place as any to begin discussing what an insurrection of the published means, or could mean.
Triple Canopy is a magazine based in New York. Since 2007, Triple Canopy has advanced a model for publication that encompasses digital works of art and literature, public conversations, exhibitions, and books. This model hinges on the development of publishing systems that incorporate networked forms of production and circulation. Working closely with artists, writers, technologists, and designers, Triple Canopy produces projects that demand considered reading and viewing. Triple Canopy resists the atomization of culture and, through sustained inquiry and creative research, strives to enrich the public sphere.
Printed Web is a project by Paul Soulellis, encompassing a physical archive, research, teaching, and experimental publishing. News. paul@soulellis.com