ARTBOOK LOGO

ARTBOOK BLOG

RECENT POSTS

DATE 12/14/2018

A remarkable new monograph from Tod Papageorge is one of our Staff Pick Holiday Gift Books, 2018!

DATE 12/13/2018

Ruin the Yuletide with 'We Do Christmas'!

DATE 12/12/2018

A smile is the only possible outcome to 'Robots 1:1'

DATE 12/11/2018

Hard to Read presents 'The Disco Files' at Le Bain with Vince Aletti, Matthew Higgs, Danny Krivit and others!

DATE 12/11/2018

"Sweet dreams, kiddies."
—Love, R. Crumb

DATE 12/10/2018

Shopping for a playful design sophisticate? Look no further!

DATE 12/8/2018

Experimentation and contemplation in 'Led Zeppelin by Led Zeppelin'

DATE 12/7/2018

Back in Stock! 'Voguing and the House Ballroom Scene of New York City 1989-92'

DATE 12/6/2018

Join Artbook @ Art Basel Miami Beach 2018!

DATE 12/6/2018

'The Swimming Pool in Photography' is a Staff Favorite Holiday Gift Book, 2018

DATE 12/4/2018

Luc Sante picks 'Shomei Tomatsu' for the 'New York Times Book Review' Holiday Gift Guide

DATE 12/4/2018

Coleen Sterritt book launch at Artbook at Hauser & Wirth Bookstore, LA

DATE 12/3/2018

Roy DeCarava and Langston Hughes' 'Sweet Flypaper of Life' featured in The New York Times Book Review

DATE 12/3/2018

We ❤️ Karen Green's 'Frail Sister'

DATE 12/2/2018

Precog Mag launch, screening and performance at MoMA PS1 Book Space

DATE 12/2/2018

MoMA PS1 Book Space launches 'Bricks from the Kiln' #3

DATE 12/1/2018

Time stops in Holiday Gift Staff Pick 'Evelyn Hofer: New York'

DATE 12/1/2018

Design as an Attitude: Alice Rawsthorn in Conversation with Paola Antonelli at MoMA

DATE 12/1/2018

Rachel Cobb presents 'Mistral' at Albertine

DATE 12/1/2018

Dashwood Books celebrates The Ice Plant with Melissa Catanese, Michael Schmelling & Jake Longstreth signings

DATE 12/1/2018

Bonnie Marranca, Omar Berrada, Susan Bee, Stephen Motika, and Joan Retallack celebrate 'Etel Adnan: The Sun on the Tongue' at MoMA PS1 Book Space

DATE 12/1/2018

The Brother In Elysium Books celebrates Dick Higgins' Selected Writings and 10 Years of Siglio Press

DATE 11/30/2018

'Rachel Cobb: Mistral' captures the legendary wind of Provence

DATE 11/29/2018

Music lovers, rejoice! An expanded edition of Vince Aletti's "Disco Files" is out now.

DATE 11/29/2018

Steve Clay, Joshua Beckman, Steve McCaffery & Tracie Morris celebrate Dick Higgins' Selected Writings at Poets House

DATE 11/29/2018

Michael Roberts and Grace Coddington to launch 'GingerNutz Takes Paris' at Bookmarc NYC

DATE 11/28/2018

Sartorial mastery in 'Italian Tailoring'

DATE 11/27/2018

Give 'Viktor & Rolf: Fashion Artists 25 Years' to the Fashionista on your list!

DATE 11/27/2018

Ed Templeton signing at Arcana: Books on the Arts

DATE 11/26/2018

Conversation and Book Launch with Tania Bruguera and Hans Ulrich Obrist at Americas Society

DATE 11/26/2018

Frédéric Lagrange's deluxe, oversized 'Mongolia' is a Staff Pick Holiday Gift for the Jetsetter

DATE 11/25/2018

ARTFORUM reviews 'Intermedia, Fluxus and the Something Else Press: Selected Writings by Dick Higgins' for ARTFORUM

DATE 11/22/2018

Happy Thanksgiving from ARTBOOK | D.A.P.

DATE 11/22/2018

Vienna Secession magic in 'Ver Sacrum'

DATE 11/21/2018

'James Turrell: Extraordinary Ideas—Realized' is a WSJ Best Holiday Gift Book

DATE 11/20/2018

What a life! 'Ralph Gibson: Self-Exposure'

DATE 11/19/2018

Lydia Kallipoliti asks, "What is the Power of Shit?"

DATE 11/18/2018

The exquisite Arts and Crafts Jewelry of once-Puritan Boston

DATE 11/17/2018

Gorgeous 'Brassaï' book is a Staff Favorite Holiday Gift, 2018

DATE 11/16/2018

Wonderful, decadent Brassaï show opens at SFMOMA

DATE 11/15/2018

Holiday Gift Staff Pick 'Ed Templeton: Tangentially Parenthetical' is NEW from Um Yeah Arts

DATE 11/15/2018

Provocation and inspiration in 'David Casavant Archive'

DATE 11/14/2018

For the Music Lover or Cinephile

DATE 11/14/2018

Too Big: Rebuild by Design’s Transformative Response to Climate Change at National Building Museum

DATE 11/13/2018

Yoshimi Hasegawa to launch 'Italian Tailoring' with Simone Ubertino Rosso & Justin MacInerney at Rizzoli

DATE 11/13/2018

All hail Andy Warhol

DATE 11/12/2018

Andy Warhol, all the way

DATE 11/12/2018

Ralph Gibson to launch 'Self-Exposure' in conversation with Laurie Anderson at The Strand

DATE 11/11/2018

Holiday Gift Staff Pick 'The New Tide' presents Gordon Parks' early work, 1940–1950

DATE 11/10/2018

Celebrate the Centennial of Sister Corita!

DATE 11/10/2018

For the Design Devotee


EXCERPTS & ESSAYS

LISA PEARSON | DATE 2/22/2015

On the Small and the Contrary


BY LISA PEARSON

In Prague, before the Velvet Revolution, one of the samizdat copies of Milan Kundera’s The Unbearable Lightness of Being in circulation was a mimeographed typewritten manuscript, no different in its physical form than a thick stack of Communist era restaurant menus listing the various permutations of pork, beef, and knedliky (concrete slabs of potato dumpling). Unbound, with nothing to signal that it was a published much less revered work of literature, Kundera’s book existed in the most utilitarian and urgent of forms. Someone had re-typed the entire work—not from the Czech original but from a smuggled English translation—and mimeographed it, risking identification by typewriter keys, by the traces on the machine itself, or by the fact of missing ink and spirits.
On the Small and the Contrary

Here was a book that did not look like a book and furthermore was cloaked in a foreign language. Its status was not a book to be placed as a treasured object on the bookshelf; rather, it was a collection of pages, printed in soft, purple type, meant to read, to be truly consumed and devoured, and then to be given away. While this particular work of beauty and nuance by an exiled writer was far more subversive than any blatantly political tract, the physical form of the book, the fact of its translation, and the necessity of its dissemination also profoundly affected both the act of reading and one’s role as reader: Kundera’s words in this “book” challenged a whole gamut of accepted truths. Holding on to it was not only a dangerous act—a punishable offense if you were caught by the authorities—but also a selfish one. By passing it on, you shared the risk as well as gave a gift: each reader became a publisher, albeit very much through the looking glass.

Siglio is not a political publishing house, but it is committed to various kinds of subversions. This samizdat copy of The Unbearable Lightness of Being serves as something of a totem for Siglio: as an act of resistance to the literal, the authoritarian and the facile, as the result of undeterred ambition to share a work of art that might otherwise remain unseen and unread, and as a testament to the “book” as refuge, dissent, beacon, and nexus. The subversion—in the works Siglio publishes and in the ways it publishes them, in the content and in the form of those books— begins by looking askew at the accepted paradigms, locating their absurdities and constraints, and then imagining other possibilities. Thus, the invisible is rendered visible, unexpected connections are revealed, categories dissolved, and a space is opened for contradiction, heterodoxy, ambiguity, as well as wonder.

This is what “Siglio” means: sig.li.o, n. 1. an inverse to a boundary. 2. a small, unauthorized marvel as opposed to an ecclesiastically recognized miracle. 3. the tongue-like organ of a bee. 4. Obs. a perverse taxonomy, e.g. a wunderkammer. 5. Archaic. The third rung on the Medieval Ladder of Awe: a. Delecta b. Canmena c. Siglio d. Mirabilius e. Elatoria f. Inefiblio g. Agis.

And this: Siglio publishes uncommon books that live at the intersection of art and literature. These are hybrid, interdisciplinary works that are often unwieldy, expansive, uncontainable, and inimitable. They challenge the reader to engage in multiple, diverse, and perhaps unfamiliar modes of reading. They upset the categories by which books are shelved and reviewed—and thus distributed and sold. They are not necessarily the books that larger publishing houses have rejected; rather, they are the books those publishing houses may never imagine. Together, they are (and will be) a rigorously eclectic and dynamic constellation of works that—rather than stake out a specific territorial subject or aesthetic stance—are connected by their way of seeing the world through the looking glass.

How one possibly get books like these into the world? We collaborate with artists and writers— in realizing their vision in the physical object of the book, in communicating (marketing) the work well, in other words, in creating a life for the work. We do not underestimate the curiosity, intelligence and daring of the reading public, or the knowledge and passion of booksellers and reviewers. We trust the immense appeal of a beautiful and unusual book. We cultivate and locate audiences for each book rather than selecting and tailoring a book for an intended audience. And we take nothing for granted: every stage of the process—from editorial to production, from marketing to distribution—is not only rigorous but highly individualized for each book. Perhaps we can only do this because Siglio is so small, or perhaps Siglio is so small because this is how we publish books.

The argument is not whether publishing ventures like Siglio should exist (how can one argue for the hegemony of dominant editorial interests and the homogeneity of the marketplace in a pluralistic, democratic society?). It’s obviously not whether we can exist—there is a long history of contrarian and visionary publishing that, given human nature and a means of dissemination, virtually no circumstance will abate. It’s not even whether our presence inflects the culture at-large: yes, of course, it does, and yes, of course, it doesn’t. (We do not have power to wield, rather our influence percolates unpredictably here and there, and thus is neither easily measured nor controlled.) Perhaps the argument is an existential one: how do we redefine the world by our engagement with it—through the books we publish and by extension through the artists and writers whose works we champion, and the conversations and relationships those books generate? The argument is simply answered one book at a time.

On the Small and the Contrary

LISA PEARSON is the founder and publisher of Siglio Press. This essay was originally published in American Book Review, “The Micropress Issue,” August 2010.
On the Small and the Contrary
On the Small and the Contrary
On the Small and the Contrary
On the Small and the Contrary
On the Small and the Contrary
On the Small and the Contrary

Richard Kraft: Here Comes Kitty

Richard Kraft: Here Comes Kitty

SIGLIO
Hbk, 8.5 x 11.5 in. / 64 pgs / 64 color.

$32.00  free shipping




Siglio

Siglio


Siglio is an independent press in Los Angeles dedicated to publishing uncommon books that live at the intersections of art and literature. Siglio books defy categorization and ignite conversation: they are cross-disciplinary, hybrid works that subvert paradigms, reveal unexpected connections, rethink narrative forms, and thoroughly engage a reader's imagination and intellect. Siglio publishes books without compromise-each title embodies the inimitable vision of its author-and we cultivate wider audiences for original, provocative work, whether by renowned, forgotten, or unknown artists and writers.



ARTBOOK LOGO
 
 

the art world's source for books on art & culture

  

CUSTOMER SERVICE
orders@artbook.com
212 627 1999
M-F 9-5 EST

TRADE ACCOUNTS

800 338 2665

CONTACT

JOBS + INTERNSHIPS

NEW YORK
Showroom by Appointment Only
75 Broad Street, Suite 630
New York NY 10004
Tel   212 627 1999

LOS ANGELES
Showroom by Appointment Only
818 S. Broadway, Suite 700
Los Angeles, CA 90014
Tel. 323 969 8985

ARTBOOK LLC
D.A.P. | Distributed Art Publishers, Inc.


All site content Copyright C 2000-2017 by Distributed Art Publishers, Inc. and the respective publishers, authors, artists. For reproduction permissions, contact the copyright holders.

ARTBOOK AMPERSAT

The D.A.P. Catalog
www.artbook.com