ARTBOOK LOGO

ARTBOOK BLOG

WHAT'S NEW?
EVENTS
BOOKS IN THE MEDIA
AT FIRST SIGHT
FEATURED IMAGES
EX LIBRIS
ARTBOOK INTERVIEWS
EXCERPTS & ESSAYS
FROM THE SHELVES

RECENT POSTS

DATE 4/19/2014

Sigmar Polke: Alibis

DATE 4/17/2014

Sigmar Polke: Alibis 1963-2010

DATE 4/16/2014

'Richard Serra: Early Work' Launch Events at The Strand and NYPL

DATE 4/15/2014

Episodes with Wayne Thiebaud

DATE 4/13/2014

Trevor Winkfield

DATE 4/10/2014

'The Sick Rose' Lecture and Book Signing at Morbid Anatomy Library

DATE 4/10/2014

Reading Andy Warhol

DATE 4/9/2014

Show Time: The 50 Most Influential Exhibitions of Contemporary Art

DATE 4/7/2014

Eva Hesse: One More than One

DATE 4/4/2014

Abiding Architecture III: 10 days, 26 People, 4 Projects, 11 Languages and 1 site in Titanyen, Haiti: Us and Them

DATE 4/4/2014

Charles Traub: Dolce Via: Italy in the 1980s

DATE 4/2/2014

Martin Creed: What's the Point of It?

DATE 4/2/2014

'Geometric Sociology' in Christoph Gielen: Ciphers

DATE 4/1/2014

Metropolis Live! Susan S. Szenasy to Speak in Boston

DATE 3/31/2014

'Larry Sultan & Mike Mandel: Evidence' eBook Now Available from iTunes

DATE 3/30/2014

Soviets: Drawings by Danzig Baldaev & Photographs by Sergei Vasiliev

DATE 3/28/2014

Richard Serra: Early Work

DATE 3/27/2014

'Emilie Brzezinksi: The Lure of the Forest' Featured on 'Morning Joe'

DATE 3/27/2014

Sarah Jones

DATE 3/25/2014

Derek Ridgers: 78-87 London Youth

DATE 3/22/2014

Philip-Lorca diCorcia

DATE 3/19/2014

Susan S. Szenasy & Debbie Millman to Launch 'Szenasy, Design Advocate' with Conversation at Museum of Arts and Design, NY

DATE 3/18/2014

Xavier Guardans: Windows

DATE 3/18/2014

The King of Kowloon: The Art of Tsang Tsou Choi

DATE 3/17/2014

'Lutz Bacher: Snow' Launch at Greene Naftali

DATE 3/16/2014

Futurism and Dance

DATE 3/14/2014

Favelization: The Imaginary Brazil in Contemporary Film, Fashion and Design

DATE 3/14/2014

Italian Futurism, 1909-1944: Reconstructing the Universe

DATE 3/12/2014

Surrealism and the Dream

DATE 3/10/2014

Robert Heinecken: Object Matter

DATE 3/7/2014

'Maria Lassnig: The Location of Pictures' at ARTBOOK @ MoMA PS1

DATE 3/6/2014

Celebrate 'You Should've Heard Just What I Seen' with DJ set by Matthew Higgs Friday, March 7 at Gavin Brown's Enterprise

DATE 3/5/2014

Join ARTBOOK at The Armory Show, March 6-9

DATE 3/5/2014

Nancy Graves Project & Special Guests

DATE 3/3/2014

Show Time: The 50 Most Influential Exhibitions of Contemporary Art

DATE 3/3/2014

Major Exhibition of Austrian Artist Maria Lassnig’s Work Opens at MoMA PS1 This Sunday, March 9th

DATE 3/2/2014

Visit ARTBOOK @ Collective 2 Design Fair

DATE 2/28/2014

Keiichi Tanaami: Killer Joe's Early Times 1965-73

DATE 2/26/2014

Cuba in Revolution

DATE 2/25/2014

Tom Dixon Presentation & Booksigning February 27 at Twentieth Gallery, Los Angeles

DATE 2/24/2014

Looking East: Western Artists and the Allure of Japan

DATE 2/23/2014

Mostly Sunny, With a Sense of Menace: William Christenberry

DATE 2/21/2014

The Eye of the Storm: Gerhard Richter Catalogue Raisonné, Volume 3

DATE 2/20/2014

It Is Almost That: Ann Hamilton, Jane Hammond & Lisa Pearson, March 5 at the NYPL

DATE 2/20/2014

Aaron Stern: I Woke Up in My Clothes

DATE 2/18/2014

21st-Century Portraits

DATE 2/18/2014

Cape Cod Modern Co-Author Previews Book at Design Within Reach, Boston

DATE 2/15/2014

Edvard Munch: A Genius of Printmaking

DATE 2/14/2014

Anthony McCall Book Launch at Sean Kelly Gallery

DATE 2/14/2014

Marian Bantjes: Pretty Pictures

DATE 2/12/2014

Propaganda! Russian and Norwegian Posters 1920-1939


ARTBOOK INTERVIEWS

RANYA ASMAR | DATE 3/28/2012

Paul Chan Interview

Founded by artist Paul Chan in 2010, Badlands Unlimited publishes limited edition books, e-books, and artist works. Below, Ranya Asmar of ARTBOOK | D.A.P. speaks with Chan about the integrity of the book as a space, the e-book as artist's book and outsized negative reactions to Badlands' digital publishing program.


Paul Chan Interview

ARTBOOK: You started Badlands Unlimited in 2010 with the intention of embracing the digital book as an artist. Can you explain how your interest in the relationship between the physical book and the e-book was conceived?

PAUL CHAN: It was more rhyme than reason. Badlands was only going to make e-books. They are cheaper to publish; I wouldn’t have to spend thousands of dollars on printing books that would eventually just sit in a warehouse somewhere; they can be downloaded and read instantly from anywhere with net access; and maybe the most interesting aspect—they last longer than hardcover books. What I mean is that today we are at a stage where a thing’s permanence is defined less by what it is made of, and more by how many times it has been shared and saved. A hardcover book is a file on paper and cardboard and fabric. I wanted to make interesting files without that cumbersome shell. But of course, plans have a way of straying. And Badlands ended up making physical books too, primarily because the more books we published, the more we became interested in the physical experience of reading: how we read with more than our eyes. E-readers like the iPad and Kindle were initially successful because they gave e-books weight and feel. You can now hold a file. So ironically, making e-books steered us into thinking about how this file might be experienced back on paper, within the physics of another form.

ARTBOOK: On the Bandlands site you say, “We make books in an expanded field.” This seems to acknowledge the e-book's ability to offer an enhanced experience by the very nature of it's format. Titles like Poems by Yvonne Rainer allow the reader to engage in the material in a much different way through the addition of audio and video. These capabilities change the ways we can think about a book. Can you talk about this, and how you feel such enhancements will change the concept of the book in the future?

CHAN: I don’t think it changes matters as much as people hope and fear. The one thing we don’t want to do is to make books that act like a multi-media spectacle, like interactive CD-ROMS from the early 2000s. A book is a space for a particular form of attention as much as it is a thing one holds and reads. This is why, I think, reading a book is different from, say, reading a newspaper or a webpage, or a menu from a restaurant. A book is something that enables a certain, pleasurable kind of focus and attention. For instance, in Poems, we could have loaded the e-book with even more audio and video materials. But we decided to only include materials—namely audio files of Yvonne reading a few of her own poems—that did not take the reader out of the natural rhythm of reading her poems from page to page. Badlands wants to keep the integrity of the book as a space for that unique kind of focus that only a book can give us, while messing with everything else. This is what I mean by an expanded field: everything else.

ARTBOOK: The physicality of the book, especially the art book, is of great importance to many readers—the transformation of space and time in one’s experience with the book now becomes one with a screen and a device. You have talked before about “the body as a reader, focus as space” and “time as a medium.” Can you elaborate on this?

CHAN: They are drawn from my experiences working with moving images. They are what I thought about when I made 7 Lights, the series of floor and wall projection pieces from 2007, and Sade for Sade’s Sake, the last projection piece I made, which was shown in the Venice Biennale in 2009. And interestingly, what I considered important when I made those works also applies to what we do at Badlands. How to make something that enables a full-bodied experience attenuated by a particular kind of focus and makes one feel as if time has left the building?

ARTBOOK: You have also used the e-book as a medium for your own artwork. I'm thinking of the Wht is? series of e-books, generated from 10 original limited editions by you—essentially loose sheets of paper torn from hardcover books, overprinted with collaged texts and images drawn from a very wide variety of sources. Can you explain how you decided to turn these extremely limited editions of one into unlimited edition e-books, and what it was like to go from something that has such a delicate collage-like physicality to a digital format? How did the process of transforming this material keep to the spirit of the art making process for you?

CHAN: Maybe the only way to keep to the spirit of anything is to understand that whatever it is, it isn’t it. That is how I think of Wht is?. The initial impulse was to do a series of books we hadn't done yet: by hand. So I started making the books using loose sheets from hardcover books overprinted with text and images, and then rebound back into book form. Then they were scanned and made into hi-resolution PDFs that are free and downloadable on our website. And then they were recomposed to exist as fixed-layout e-books available on Apple iBooks and the Amazon e-book store. If I had money to publish them on stone tablets, I would. That is how spirit works.

ARTBOOK: It’s fascinating to think about the immense amount of information that is available on the internet in such an unfocused and overwhelming way, while at the same time thinking about the emergence of the e-book, which can offer the reliability and credibility of traditional book publishing, but has been so criticized. How do you feel about this?

CHAN: I wouldn’t say e-books are reliable and credible. One thing about the terrain of e-book publishing today is that it is full of crap titles that resemble something more like email spam than an actual book. They are poorly paginated, barely edited and read like they were written in Google Translate. They treat content the way the net now more or less treats information: as a performance. This is fine with me. I just don’t want to make those kinds of books. Like I said, I think of books as a space for enabling a particular kind of focus and attention. So notions of reliability and credibility have less to do with the veracity of the content, and more to do with how well the book is made in order to enable you to have that space.

ARTBOOK: One great story that I have heard you tell is about the negative reaction of two women at a past New York Art Book Fair, when you presented an iPad and Kindle at your booth, loaded with e-books you had made. Could you talk a bit about this moment, and how it changed your thoughts on creating e-books, if at all?

CHAN: This was in 2010, when we had our first table at the fair. During the preview opening, two women came up to our table and basically started a shouting match, with us, and each other. One woman sneered that we were destroying real books by making e-books. Her friend tried to calm her down, saying “but look, it’s so much fun!” while she started to play with one of the Kindles on our table. But the irate woman ranted on, saying we should be ashamed of ourselves, muttered something about us burning books, and stormed off. It had never occurred to me that Badlands was actively destroying books as we have known them by publishing e-books. But I have grown to like the idea very much. If what you make doesn’t destroy something, is it really worth making?
Paul Chan Interview
Paul Chan Interview
Paul Chan Interview
Paul Chan Interview
Paul Chan Interview
Paul Chan Interview
Paul Chan Interview


ARTBOOK LOGO
 
 

the artworld's favorite source for books on art and 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
155 Sixth Avenue
New York NY 10013
Tel   212 627 1999

LOS ANGELES
Showroom by Appointment Only
818 Broadway
Los Angeles CA 90812
Tel   213 888 7957

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


All site content Copyright C 2000-2013 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