Printed Matter


Bowery Providence Queens Paris

It’s August and I’m already looking at the end of my time at NEW INC. I’ll move out of 231 Bowery by the end of this month. It’s been an intense year, a very good one, for lots of reasons. This studio space here and the incredible community in the New Museum’s incubator helped me focus on writing, teaching and special publishing projects — as Counterpractice. It’s the first time that I’ve opened up my studio to a wider range of non-client work, in a more formalized way (please, no more “side-projects”). The balance was never perfect but I’ve learned to stay alert for unexpected alignments and frictions. I’m learning from all of it. In May I was asked to be a contributing editor at Rhizome, so I now have another outlet for writing and developing special projects and extending my experimental publishing research.

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After the launch of Printed Web 3 at Offprint London (and on Rhizome) at the end of May, I headed to Germany. I’d been invited by Olia Lialina to teach a one-week Library of the Printed Web workshop at Merz Akademie in Stuttgart, which was just coming to the end of asparagus season.

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The students were excellent and we presented a mini collection of zines, postcards and printed matter to Olia for the school’s library.

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This was my first LotPW workshop and creating a site-specific collection of materials in real-time is a beautiful format. I’ll use it again.


While I was there I gave my “Performing Publishing” talk at Stadtsbibliothek Stuttgart (the city’s new public library that feels like a set from the Matrix). This library knows how to make speakers feel welcome. No, this is not a rendering.

I have to post another one.

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And then I was Paris-bound, where I had been invited by Fondation Galeries Lafayette to deliver a talk (“Making Public”) and conduct a two-day workshop for an awesome mix of artists, media critics, designers and curators (including Alessandro Ludovico, Raphael Bastide, Oliver Laric, Neil Cummings from Wolff Olins, Joachim Hamou and Nicolas Delaforge, a semantic web engineer). The scenario was to imagine how the new OMA-designed art institution opening in 2018 would treat the artifacts of artistic production, from archiving to publishing.

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Making public became a kind of mantra for me while I spent the week in the Marais writing the talk and posing questions around posting, multiple publics, memory, temporality, poor media and physical space. I’d love to develop this talk into a broader text about the role of publishing for artists and art institutions.

In September I’m back at RISD. I’ll be full-time on a year-long term appointment, teaching the core design studio for graphic design juniors as well as Experimental Publishing Studio (this time as an undergrad elective). I’ll try to spend more time in Providence, which might be easier now without the need to rush back to my studio on the Bowery. I’ll be writing and designing and putting my fall projects together from Rhode Island, as much as I can.

In September I’ll participate in Yami-Ichi Internet Black Market at the Knockdown Center in Queens, and then you’ll find me in the zine tent at the NY Art Book Fair at MoMA PS1 (Sept 18–20).

Printed Web 3

All issues of Printed Web (1–3) will be available at both of these events (except the Chinatown Edition, which is sold out), as well as the first of my new Printed Web Editions — one-off artist project zines.


Also this fall — I’m developing the next issue of Printed Web, which will be a special commission for the International Center of Photography. This will be for the museum’s inaugural exhibition in their new location on the Bowery in early 2016. And in February, I’ll be back in Paris for the opening of L’image Inframince at xpo gallery, a show I’m curating around the current condition of the image on the network and in physical space.

Meanwhile, Library of the Printed Web continues to grow. Please direct all web-to-print projects my way for consideration! Someday, I’ll properly conserve these artifacts and develop a proper home for this collection. The works deserve to be treated better than my sorry bookcases at home.


Suddenly September


I’ve moved into my new studio at NEW INC and Counterpractice is real. And it feels different. Overnight, how I work has changed. I’m in a huge studio space filled with creative people and we’re all stretching into new territory. Working here is public and social. The stimulation is infectious. I haven’t felt this motivated in a long while.

And just off of the quiet of Portlander, I’ve landed in a September frenzy. A good frenzy though. Printed Web No. 2 is about to launch and a nice series of talks and exhibitions is coming up. Here’s what’s happening:


Printed Web at Printed Matter

Printed Web at Printed Matter

Printed Web at Printed Matter

Photo by @ableparris: Printed Web at Printed Matter

Printed Matter hosted a NYC launch event for Printed Web #1 last night. Artists Clement Valla, Am Schmidt, Sean Benjamin, Chris Alexander, Penelope Umbrico and Benjamin Shaykin joined me to talk about some of the themes brought up by the project: identity, memory, artist-as-archivist, the collective and web-to-print practice. The discussion and the audience questions were stimulating and I really wish I’d recorded it.

It was a joy for me to see so many familiar faces (as well as new friends) turn up in support and to participate in the conversation. Thank you to everyone who attended.


Experimental publishing



I was invited to give a few talks in Los Angeles earlier this week (at UCLA and Art Center), while I was there for Printed Matter’s L.A. Art Book Fair. Library of the Printed Web was the attractor, I think, especially at the Graduate Media Design Practice program at Pasadena. But I took the opportunity to present a more general overview of my work, including the larger trajectory from designer (and all of the brand/creative/director/strategist roles that go with it) to artist, teacher, curator and publisher.

While artist and teacher are fairly new roles for me, I feel like I’ve been wrestling with them for some time now, even if abstractly. But it’s the last two concepts—curator and publisher—that are entirely new. Creating Library of the Printed Web exactly one year ago (for the excellent Theorizing the Web conference) introduced me—somewhat unknowingly—to curatorial and publishing situations that I never imagined.

Publishing Printed Web #1 is an experiment. It’s provisional and experimental because I didn’t approach the project like a traditional publisher, or with any real business model (I didn’t “start a publishing company” or small press or anything like that). I formed the project as a way to present new work from artists who interest me (artists who enact a web-to-print practice in some way). I consider the publication to be, primarily, an exhibition in print. Printed Web #1 is “primary information” in the Seth Siegelaub sense (at least, he was the primary inspiration). The issue is not a catalogue—it is not “about” the work—it is the presentation of the art. “You don’t need a gallery to show ideas” (Siegelaub).

The reception at the fair was great. People get it. Visitors to the table were curious, and when I told them that each artist got six pages to do whatever they want, from web-to-print, they wanted to see all of the projects. Most people stood there and flipped through all 64 pages.

I was asked a few times about newsprint. Why use a light, ephemeral kind of printing when presenting ephemeral (web) work in a new context? It’s a good question and it could be argued that the desire for slowness, thingness and permanence would be better served by a more high-end presentation of the project. But I wanted to keep the publication accessible ($12) and stay far away from the “rare,” out-of-print photobook frenzy. For now, newsprint works.

I sold 135 issues of Printed Web #1 at the fair and 50 more are going to Motto in Berlin. And I’ve sold about 50 more in the online shop. If you’d like one and you’re in the NYC area, you can avoid the shipping charge by coming to Printed Matter on March 1 for a launch event. More details about that soon.

Printed Web is an experimental publishing project because my goal (for now, at least) is to be a part of the conversation. To spread the thing around in an interesting way and talk and chew on the issues embedded in this kind of work (circulationism, acceleration, materiality, copyright, a new web-to-print artist’s practice).




The New Yorker’s Photo Booth blog says my Las Meninas project is one of their twelve reasons to visit the NY Art Book Fair at MoMA PS1 this weekend. Happy and honored to be mentioned in good company with Elisabeth Tonnard, Erik van der Wejde, Gordon Matta-ClarkRobert Mapplethorpe and others.

Come find me at table #Q47! Or purchase Las Meninas right here. Half of the edition has already sold.

Friday, September 20, 12–7pm
Saturday, September 21, 11–9pm
Sunday, September 22, 11–7pm (I will only be there from 11–2pm on Sunday)


NY Art Book Fair

Next week at Printed Matter's NY Art Book Fair at MoMA PS1: I'll give away 500 4-page newsprint copies of "Search, compile, publish."

Next week at Printed Matter's NY Art Book Fair at MoMA PS1: I'll give away 500 4-page newsprint copies of "Search, compile, publish."

I’ll be at Printed Matter’s 2013 NY Art Book Fair at MoMA PS1 next week (19–22 September), both as Library of the Printed Web and a member of ABC Artists’ Books Cooperative (shared table).


Las Meninas





I developed this collection of photographs earlier this year and struggled with the publication format. The images are interior views from Google Street View and depict the photographer and/or the camera’s reflection in mirror or glass. I ordered print-on-demand books from Blurb in several formats, trying different sizes and papers, but nothing felt right.

Finally, I’m self-publishing the 17 images as Las Meninas, a 32-page newsprint tabloid publication, nesting pages (edition of 50). Printed by Newspaper Club. I’m satisfied with the results. The format seems to fit the material perfectly.

Las Meninas will be available for purchase at Printed Matter’s 2013 NY Art Book Fair at MoMA PS1 (19–22 September). Look for me at the ABC/Library of the Printed Web table.

Las Meninas
32 pages
Digital newsprint (print-on-demand)
Edition of 50
Nesting folio
Tabloid (289 mm x 380 mm)

View the entire publication on Flickr.


LA, Kansas, NYC


  • I’ll launch “Apparition of a distance, however near it may be” at Printed Matter’s first annual LA Art Book Fair at the Geffen Contemporary at MoCA, Los Angeles. Look for me at the ABC Artists’ Books Cooperative table (January 31–February 3).
  • Several of my books will be featured in “A Fair,” an exhibition curated by Travis Shaffer at the University of Kansas Art + Design Gallery, Lawrence, KS (January 22–February 15).
  • Stripped will be featured as part of the ABCED project at Gagosian Gallery, 980 Madison, NYC in “Ed Ruscha: Books & Co.” (March 5–April 27).

Progress photo of the Kansas installation by Travis Shaffer.


NY Art Book Fair

Please come say hello if you’re at MoMA PS1 for Printed Matter’s NY Art Book Fair this week (Friday through Sunday). I’ll be at the ABC Artists’ Books Cooperative table or floating around all weekend. The full boxed set of Weymouths, 273 Relics for John Cage (new second edition) and Stripped will be for sale at our table, along with lots of beautiful work by our 25 members from Germany, Austria, Netherlands, UK and USA.

NY Art Book Fair
28–30 September 2012
Preview / Thursday 27 September 6–9pm
ABC Artists’ Books Cooperative (second floor, table Q43)