Issue

50 / Printed Matter

January 19 2012

Introduction

January 19, 2012. Serial publications have the power to link what’s in print with what’s happening now, reflecting the impermanence and transience not only of the medium, but also of the ideas catalogued therein. As an online venue, Art Practical strives to create such a connective dialogue that brings today’s art to life, but it also aims to historicize the interactions between artwork and viewer, writer and reader. “Printed Matter” is concerned with Art Practical’s indebtedness to print culture; we ponder the extent to which Art Practical can serve as an archive while constantly evolving alongside its own conversations as part of an ever-shifting digital frontier. There’s a tension between the ephemerality of being in the present and the staying power of a constructed archive. Our fiftieth issue, “Printed Matter” is a self-reflexive pause within this space. Enjoy. CM

Features

Introduction: Printed Matter

Introduction: Printed Matter

By Catherine McChrystal

We ponder the extent to which Art Practical can serve as an archive while constantly evolving alongside its own conversations as part of an ever-shifting digital frontier. There’s a tension between the ephemerality of being in the present and the staying power of a constructed archive. Our fiftieth issue is a self-reflexive pause within this space.

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Bookishness: A Conversation on Bay Area Book Arts

Bookishness: A Conversation on Bay Area Book Arts

By Chelsea Wong

It’s important that the book is not a rarefied object; it can be, but I think sometimes people think of book arts, bookmaking, and the artists' book as being something that needs to be in a case and locked up and not touched. The down and dirty side of it is really still alive and well.

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Beauty and the Book: Can Design Alter the Future of Printed Books?

Beauty and the Book: Can Design Alter the Future of Printed Books?

By Tess Thackara

The publishing industry's renewed emphasis on book design raises a host of questions: Are books becoming mass-produced art objects? Does a book’s design push formal boundaries and encourage readers to engage with the content in new ways? And can developments in printed book design rival those of tablet book apps?

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Conversation with San Francisco Arts Quarterly

Conversation with San Francisco Arts Quarterly

By Art Practical Editors

Art Practical leans so much on print culture in that way, just like SFAQ, because there’s something about an issue that invites you to draw connections and comparisons between different topics and artists and subjects in a way that the endless, flowing stream of online content just flooding in from one day to the next doesn’t really encourage.

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Radical Access and Obscurity: San Francisco’s Zine Culture

Radical Access and Obscurity: San Francisco’s Zine Culture

By Keturah Cummings

The main attraction of the artist-made zine, however, seems to be the form itself—an object made more desirable by its limited run and collectability. Such an impulse to collect ultimately runs counter to the notion of accessibility, often pushing the publications into relative obscurity.

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Profile: Kadist Magazine Residency

Profile: Kadist Magazine Residency

By Bean Gilsdorf

We could be part of a moment of what the magazine is and what it wants to do: mulling over the mechanics of the production, who we imagine the reader to be, its distribution. All those things come into play

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Paul Madonna, Everything Is Its Own Reward

Paul Madonna, Everything Is Its Own Reward

By Larissa Archer

If there is a San Francisco state of mind—calm, unburdened with practical worries, nostalgic, slightly mawkish, indulgent of beauty—Paul Madonna proves that this can exist anywhere, just as any San Franciscan knows that it cannot always exist in this city.

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