Available in the galleries, Feb. 1 – Mar. 25, 2018.
Architectural maquettes of Beeler Gallery containing free artist-made publications are replenished throughout the season. They range from an archive of an art publications of artists’ writings focusing on aesthetic and social issues such as M/E/A/N/I/N/G (Susan Bee and Mira Schor) to single issues dedicated to an artist Black Pages (Christoph Meier, Ute Muller, Nick Oberthaler), a Beeler exclusive newsprint by fierce pussy (Transmission III), and the archive of Amy Sillman‘s zine series O.G. Other contributions include Turpentine, (Jean-Luc Blanc, Mimosa Echard, Jonathan Martin), Yu Ji, Gina Osterloh, Xavier Antin, Pierre Paulin, Tyler Coburn and Byron Peters’ Da, Ann Hamilton, Virginia Overton / Wade Guyton, as well as protest posters from Château de Montsoreau celebrating the 500th year anniversary of Martin Luther (by Louise Hervé & Chloé Maillet, Antonia Birnbaum, Fabrice Hergott, Antoine Dufeu, A Constructed World, and Art & Language), and Lara Ögel.
WEEK 1 (beginning Feb. 1, 2018)
fierce pussy, Transmission lll, 2018
A broadsheet printed specifically for Beeler Gallery at Columbus College of Art & Design. Transmission I appeared in the Summer 2016 issue of Artforum. Transmission II appeared in The Archive magazine published by Leslie-Lohman Museum of Gay and Lesbian Art. The collective speaks from the future to the present human. The individual artistic practices of the four core members of fierce pussy (Nancy Brooks Brody, Joy Episalla, Zoe Leonard, Carrie Yamaoka) will be the focus of a 6-month long season at Beeler Gallery, spanning Fall 2018 and Spring 2019.
Xavier Antin, offshore offshore, 2014
A collection of words gathered from the financial sector. Printed in newsprint in the tax haven island of Malta and made freely available to the public, it draws attention to the tensions between a borderless dematerialized financial world and the tangible limitations of an obsolete medium. Originally produced as an edition of 1500 for the exhibition Offshore at Galerie Crèvecœur, Paris, in 2014.
WEEK 5 (beginning Feb. 28, 2018)
Yu Ji, Pyrus Communis, 2017
A newspaper of archived images by the Shanghai-based artist, during her residency at Le Pavillon Neuflize OBC, Palais de Tokyo, Paris. Published on the occasion of the exhibition Prec(ar)ious Collectives, April 5 – 12, 2017, Akadimias 23, Athens, Greece. 800 copies were printed.
Susan Bee & Mira Schor, M/E/A/N/I/N/G, 1986-1996
Founded by artists Susan Bee & Mira Schor, and designed by Bee, M/E/A/N/I/N/G Magazine brings together urgent writings by artists, critics, and poets. Its ten-year tenure (1986–96) of artist-centered text, essays, and commentary on aesthetic and social issues, eventually led to an online version. The visibility of women artists, sexuality and the arts, censorship, art world racism, the legacies of modernism, artists as mothers, visual art in the digital age, and the rewards and toils of a lifelong career in art are some of the concerns of the publication. Artists and art writers includes Nancy Spero, Richard Tuttle, David Humphrey, Thomas McEvilley, Laura Cottingham, Johanna Drucker, David Reed, Carolee Schneemann, Whitney Chadwick, Robert Storr, Leon Golub, Charles Bernstein, and Alison Knowles, among others.
Protest Posters 1515 – 2017, 2017
Celebrating the 500th year anniversary of Martin Luther, Museum of Contemporary Art at Château de Montsoreau, France commissioned a series of posters by:
Louise Hervé & Chloé Maillet, artist duo whose work spans performances, film and installation.
Antonia Birnbaum, specialist of modern German philosophy and aesthetic philosophy.
Fabrice Hergott, art historian and Director of Musée d’Art modern de la Ville, Paris.
A Constructed World, a collaborative project founded in 1993 by Australian artists Geoff Lowe and Jacqueline Riva.
Art & Language, artist collective founded in 1967, now represented by members Michael Baldwin and Mel Ramsden.
Antoine Dufeu, writer, editor and independent researcher.
WEEK 6 (beginning Mar. 7, 2018)
Gina Osterloh, mésange bleues (desire study), 2017
An unlimited edition silkscreen on paper from the Columbus-based artist.
Black Pages, 2009-2018
Black Pages is an artist-fanzine based in Vienna. Printed in an edition of 300 in A5 format, each issue focuses on one artist and is named after the artist’s first name. Founded by Christoph Meier, Ute Müller, and Nick Oberthaler. A full archive is now at the CCAD Packard Library.
Turpentine 6, 2017
Turpentine is a publication founded by artists Jean-Luc Blanc, Mimosa Echard, and Jonathan Martin. #6 includes contributions by Anne Bourse, Sylvie Fanchon, Thomas Fougeirol, and Camille Vivier. Published with the support of MACVAL, Ivry, France. Edition of 400.
WEEK 7 (beginning Mar. 13, 2018)
Amy Sillman, Archive of O.G., 2009-2018
A near-complete archive of Amy Sillman’s zine series, which began as an attempt by the painter to reroute the circulation of her ideas, images, and text. The zines often accompanied exhibitions to undercut monetary transactions in the field of art.
Pierre Paulin, BOOM BOOM RUN RUN, 2017
Notes on the ambiance
The scent of incense
Mais bon, il faut bien continuer à advancer
Dawn at night
For the French artist’s solo exhibition at Le Plateau, an art center in Paris, five publications were conceived as guide to ambulatory ambience.
Virginia Overton / Wade Guyton, Negroni Sbagliato, 2015
This two-sided poster is named after the cocktail Negroni Sbagliato, or “broken” Negroni, consists of Campari and sweet vermouth, and sparkling wine. Made by the American artists at the in-house printing facility of ÉCAL (Lausanne University of Art and Design), Switzerland, while they were invited to conduct a workshop with undergraduate students there.
(Postcards of ÉCAL’s exhibition programming and lecture series are currently on view in the galleries as part of “How well do you behave? IN THE FLAT FIELD.)
WEEK 8 (beginning Mar. 20, 2018)
O N E E V E R Y O N E, book and newspaper, 2017, The University of Texas at Austin
896-page book with 7 unique covers, 32-page newspaper with essays by Laurel Braitman, Matthew Goulish, Kris Paulsen, Nancy Princenthal, Brian Rotman, Natalie Shapero, Meg Shevenock, and Kathleen Stewart.
O N E E V E R Y O N E, a public art project by Ann Hamilton, is framed by the idea that human touch is the most essential means of contact and a fundamental expression of physical care. Commissioned by Landmarks for the Dell Medical School, it began as a campaign to photograph more than five hundred members of the Austin community. The project welcomed any person who had ever received or provided care— everyone.
With more than twenty-one thousand images, the photographs of O N E E V E R Y O N E expanded to assume multiple forms: architectural porcelain enamel panels that line the corridors of the medical school; a newsprint publication featuring contributions by poets, philosophers, scientists, and essayists; a book intended to circulate freely that holds at least one portrait of each participant; a website where the same photographs may be downloaded; an exhibition in collaboration with the Visual Arts Center; and a library of images that will enhance future buildings of the medical complex.
O N E E V E R Y O N E, newspaper, 2014, Transformer Station
Part of the exhibition “UNKNOWN: Pictures of Strangers”
This 32-page newspaper accompanied the installation at Transformer Station.
During the Art Dealers Association of America’s spring 2014 The Art Show in Park Avenue Armory, over 700 people were photographed through the Duraflex® membrane in the Carl Solway Gallery booth. The exchange continued by mail with everyone receiving a newsprint ephemera image of another participant. Selected images printed on tissue thin Japanese paper rustled in the air currents at the Transformer Station in Cleveland where they were exhibited later that year.
O N E E V E R Y O N E, newspaper, 2012, The Andy Warhol Museum
Part of the exhibition “Factory Direct: Pittsburgh”
The Post Gazette printed the images as newspapers, an object produced and delivered in hand every day. These newspapers were distributed at the exhibition and in a special edition to Pittsburgh households.
habitus, newspaper, 2016, Fabric Workshop and Museum
This 32-page newspaper accompanied the installation at Fabric Workshop and Museum and Municipal Pier 9. It includes essays by Ann Hamilton and Natalie Shapero.
Located on the Delaware River at Municipal Pier 9 and at The Fabric Workshop and Museum (FWM) on Arch and 12th Street, Ann Hamilton’s project was inspired by one of the earliest human technologies, cloth making. The title, habitus, refers to clothing, customs of dress, social patterns and what Hamilton calls “the commonness of cloth,” which swaddles us at birth, covers us in sleep, and wraps our bodies in death.
Tyler Coburn & Byron Peters, Resonator, 2016 —
A multi-part project that includes a .zip file downloadable on Beelergallery.org and a print takeaway available in the gallery. Resonator engages the phenomenon of “resonant frequency.” Many of the world’s materials have a particular sonic frequency, and if exposed to this frequency, they’ll vibrate at greater and greater amplitude. Across the different parts of this project, resonance is conceived as a tool for destruction (i.e. bringing down capitalism, in a rereading of an old anecdote about the “King of Resonance,” Nicola Tesla) and for connection (think: Love 2.0, as Barbara Fredrickson calls it).