DATE 12/24/2015

Sylvie Fleury, Santa Baby

DATE 12/18/2015

The Bauhaus: #itsalldesign, Marcel Breuer Children's Chair

DATE 12/15/2015

Henri Matisse, 'White Alga on Red and Green Background' (1947)

DATE 12/14/2015

Picasso Sculpture, Bull

DATE 12/13/2015

ARCANA Launch and Signing for 'The Soviet Photobook'

DATE 12/11/2015

We Go to the Gallery

DATE 12/10/2015

Andy Warhol: Prints, Marilyn Monroe

DATE 12/9/2015

Andy Warhol: Prints, Electric Chair

DATE 12/8/2015

Agnes Martin, Untitled 1959 purple and grey painting

DATE 12/7/2015

International Pop

DATE 12/6/2015

Peter Schlesinger: A Photographic Memory 1968-1989, Amanda Lear

DATE 12/5/2015

Peter Schlesinger: A Photographic Memory 1968-1989, Reto Guntli backflip

DATE 12/4/2015

Hans J. Wegner: Just One Good Chair

DATE 12/3/2015

Martin Hyers and William Mebane's "HERE – 77070019" (2010)

DATE 12/2/2015

Marilyn Minter: Pretty/Dirty

DATE 12/2/2015

Jenny Holzer: War Paintings, Formica 3086

DATE 12/2/2015

Jordan Wolfson & Laura Owens Joint Book Launch at Ooga Booga, LA

DATE 12/1/2015

Modern Taste: Art Deco in Paris 1910-1935, Simone Kahn, Man Ray 1926 portrait

DATE 11/30/2015

Philippe Halsman's Jump Book, Brigitte Bardot

DATE 11/29/2015

Strand Books presents Dan Martensen, Author of 'Wolves Like Us: Portraits of the Angulo Brothers'

DATE 11/29/2015

Hiroshi Sugimoto: Seascapes, Lake Superior, Eagle River

DATE 11/27/2015

Vogue: Like a Painting, Paolo Roversi

DATE 11/27/2015

Vogue: Like a Painting, Peter Lindbergh

DATE 11/26/2015

Vogue: Like a Painting, Grant Cornett Still Life

DATE 11/26/2015

Vogue: Like a Painting, Grant Cornett Still Life

DATE 11/25/2015

Class Distinctions: Dutch Painting in the Age of Rembrandt and Vermeer, Courtyard of a House in Delft

DATE 11/25/2015

Hiroshi Sugimoto Talk & Book Signing at The Strand

DATE 11/24/2015

Walter Chandoha: The Cat Photographer, Gift Kitty

DATE 11/23/2015

Walter Chandoha: The Cat Photographer

DATE 11/22/2015

Henry Leutwyler: Ballet

DATE 11/21/2015

Don McCullin, Sunday Morning, Chapel Market

DATE 11/20/2015

Holiday Gift Guide 2015: For Kids (& Parents)

DATE 11/19/2015

Leendert Blok: Silent Beauties, Color Photographs from the 1920s, TULIPA, Bleu celeste

DATE 11/18/2015

Artbook Corporate and Executive Gifts

DATE 11/18/2015

ARCANA Presents 'Photography is Magic' Multi-Photographer Signing with Charlotte Cotton

DATE 11/17/2015

Hans Schärer 'Madonnas & Erotic Watercolors' Opens at Swiss Institute

DATE 11/15/2015

Japanese Inspirations

DATE 11/14/2015

Henri Cartier-Bresson: The Decisive Moment, Sunday on the banks of the Marne

DATE 11/14/2015

Barbara Kasten: The Diazotypes

DATE 11/13/2015

Imponderable: The Archives of Tony Oursler, ESP Practitioner with Coins

DATE 11/12/2015

Peter Schlesinger: A Photographic Memory 1968-1989 at BOOKMARC

DATE 11/11/2015

ARTBOOK & Swiss Institute to Launch 'Imponderable: The Archives of Tony Oursler'

DATE 11/11/2015

Don McCullin, US Soldier Rescuing Vietnamese Woman

DATE 11/10/2015

'Both Sides of Sunset' Panel and Signing at the Brand Library

DATE 11/10/2015

Henri Cartier-Bresson: The Decisive Moment, Punjab India

DATE 11/9/2015

Henri Cartier-Bresson: The Decisive Moment, Christian Bérard, Jean-Paul Sartre

DATE 11/9/2015

Chef Mina Stone to Sign and Cook from 'Cooking for Artists' at As Of Now, LA

DATE 11/8/2015

Richard Learoyd: Day for Night, Agnes with Eyes Closed

DATE 11/7/2015

Richard Learoyd: Day for Night, Nancy with Tears

DATE 11/6/2015

Alvin Baltrop: The Piers

DATE 11/5/2015

Joaquín Torres-García: The Arcadian Modern, Construction in White and Black



Documenta Notebooks: Kenneth Goldsmith, Letter to Bettina Funcke

New York-based poet Kenneth Goldsmith’s contribution to the Documenta Notebooks series is a letter to Bettina Funcke, the series’ Head of Publications. In the following excerpt from this letter, Goldsmith describes his work with “Uncreative Writing,” his curating of Ubuweb and the new skill sets needed for writing in the digital age.

I teach Uncreative Writing in an English department at an Ivy League University: I teach students to appropriate, plagiarize, patch-write, and steal. If they show a trace of “creativity,” they are demoted. For a final project, I make them break the most sacred taboo in academia: they must buy a term paper from an online paper mill and present it to me as their own. What I do in the classroom is illegal and unlawful; some might even call it immoral. But the students—and even the parents of the students who have sat in on classes—love it. Finally, what they’ve surreptitiously been doing for years is brought out into the light of day and framed in terms of responsibility rather than reckless “theft.” At the end of the day, I don’t expect them to forever write this way. Instead, they’ve got another tool in their writing toolbox. Unlike the reaction to Day or UbuWeb, students understand that such gestures have many dimensions, that by writing this way, they can also continue to write in more conventional ways. It’s not either/or. But this is typical of their generation: the Internet is just another tool, like oil paint and ceramics. I admire their fluidity and their nonhierarchical approach to media.

And still, what would a nonexpressive poetry look like? A poetry of intellect rather than emotion? One in which the substitutions at the heart of metaphor and image were replaced by the direct presentation of language itself, with “spontaneous overflow” supplanted by meticulous procedure and exhaustively logical process? In which the self-regard of the poet’s ego were no longer whether it could have been done better (the question of the workshop), but whether it could conceivably have been done otherwise. (Craig Dworkin, “Introduction to The UbuWeb Anthology of Conceptual Writing,”, accessed February 9, 2010.)

Look. I know that UbuWeb is not very good. In terms of films, the selection is random and the quality is often poor. The accompanying text can be shoddy, mostly poached from whatever is available around the Net. So are the films: they are mostly grabbed from private, closed file-sharing communities and made available to the public, hence the often lousy quality. It could be done much better. Yet, in terms of how we’ve gone about building the archive, if we had to ask for permission, we wouldn’t exist. Because we have no money, we don’t ask permission. Asking permission always involves paperwork and negotiations, lawyers, and bank accounts. Yuck. But by doing things the wrong way, we’ve been able to pretty much overnight build an archive that’s accessible to the public free of charge.

In 1969, the Conceptual artist Douglas Huebler wrote, “The world is full of objects, more or less interesting: I do not wish to add any more.” I’ve come to embrace Huebler’s ideas, thought it might be retooled as, “The world is full of texts, more or less interesting; I do not wish to add any more.” It seems an appropriate response to a new condition in writing today: faced with an unprecedented amount of available text, the problem is not needing to write more of it; instead, we must learn to negotiate the vast quantity that exists. I’ve transformed myself from a writer into an information manager, adept at the skills of replicating, organizing, mirroring, archiving, hoarding, storing, reprinting, bootlegging, plundering, and transferring. I’ve needed to acquire a whole new skill set: I’ve become a master typist, an exacting cut-and-paster, and an OCR demon. There’s nothing I love more than transcription; I find few things more satisfying than collation.

Documenta Notebooks: Kenneth Goldsmith, Letter to Bettina Funcke
Documenta Notebooks: Kenneth Goldsmith, Letter to Bettina Funcke
Documenta Notebooks: Kenneth Goldsmith, Letter to Bettina Funcke
Documenta Notebooks: Kenneth Goldsmith, Letter to Bettina Funcke
Documenta Notebooks: Kenneth Goldsmith, Letter to Bettina Funcke
Documenta Notebooks: Kenneth Goldsmith, Letter to Bettina Funcke
Documenta Notebooks: Kenneth Goldsmith, Letter to Bettina Funcke

Kenneth Goldsmith: Letter to Bettina Funcke

Kenneth Goldsmith: Letter to Bettina Funcke

Pbk, 4 x 5.75 in. / 32 pgs / 1 color.

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