Open Submission for ART Books

Have you recently published an Art book without ISBN number? Is it an Art book, the documentation of your work or does it cover Art or Art theory?I am looking for publications by international practitioners in the fields of contemporary Art and theory that have recently been realised without a distributor/publisher.

I am interested in any form or shape of material. I will select 300 books to be exhibited and distributed at the > Galerie für Zeitgenössische Kunst Leipzig in Spring 2010. This project is a part of my next solo exhibition there.

All selected participants will be part of the exhibition which will last for a full year and will also cover the whole period of the > Leipzig Book Fair in spring 2010.Participants will also be offered to become a member of the Salon für Kunstbuch distribution network - online as well as retail distribution for Art Books.

This was an experiment conducted on a Beijing subway to see what Chinese people would do if someone flipped out and started dancing. We shot on a 5D Mark II and two hidden cameras–Leica D-Lux 2 and a Panasonic DVX 100A. People were surprisingly unfazed. Song is Kids by MGMT.

Spike Jonze, the director with the childlike imagination, and the actor Max Records. (Jonze is the one without a wolf suit.)

Spike Jonze, who is 39, has directed just two feature-length films, “Being John Malkovich” and “Adaptation.” Both were critical and commercial successes, praised for their originality and absurd humor, and yet they represent only a small fraction of the work that Jonze’s fans admire. He is part of the first generation of filmmakers to come up through the music-video world — in the seven years between 1995 and 2001, he was named best director three times at the MTV Video Music Awards — and his inventive, adventurous style is evident not just in the Hollywood movies he has worked on but also in his videos, skateboard-company promos and TV commercials for companies like Ikea, Nike and the Gap. These miniatures, which Jonze considers to be of no less artistic merit than his longer works, will be celebrated next month as part of a 10-day retrospective at the Museum of Modern Art, an unlikely honor for a filmmaker with his background. He never went to film school — or, for that matter, to college. When “Star Wars” had its first run in the movie theaters he went to see it eight times, but he didn’t see “Citizen Kane” until he was well into his 20s, he told me, and he has never seen a single movie by Howard Hawks or John Ford.

Jonze avoids Hollywood, preferring to stick close to the fashionably scruffy neighborhoods where he lives and skateboards (Los Feliz in Los Angeles and the Lower East Side in New York). Even so, the Hollywood establishment has largely embraced him. In 2000, “Being John Malkovich” was nominated for three major Academy Awards, including best director. Two years later, Jonze was an executive producer for “Jackass: The Movie,” a desultory collection of stunts and pranks that was made for just $5 million and became an unexpected hit, ultimately grossing more than $79 million at the box office. In 2003, “Adaptation” garnered four more Academy Award nominations and one Oscar (Chris Cooper’s, for best supporting actor). Jonze, it seemed, was that rare breed, an American filmmaker who had managed to find mainstream success without doing anyone else’s bidding. And then, that summer, he decided to make his first big studio movie.

http://www.nytimes.com/2009/09/06/magazine/06jonze-t.html?_r=2&pagewanted=1

The Oxford Project began almost 25 years ago, when Peter Feldstein undertook the task of photographing every resident of his town, Oxford, Iowa (pop. 676). The collection of photographs that resulted is a fascinating glimpse into the ethos and character of small-town life.

http://welcomebooks.com/oxfordproject/

“Besides offering nearly all of its features for free, it scorns advertising, refuses investment, ignores design, and does not innovate. Ordinarily, a company that showed such complete disdain for the normal rules of business would be vulnerable to competition, but craigslist has no serious rivals. The glory of the site is its size and its price. But seen from another angle, craigslist is one of the strangest monopolies in history, where customers are locked in by fees set at zero…”

http://idsgn.org/posts/redesigning-craigslist/

Turner Duckworth’s redesign for Coca-Cola has won a lot of top awards over the past year: the first design Grand Prix at Cannes, a D&AD Yellow Pencil and, of course, a place in the Creative Review Annual. Some people wonder what all the fuss is about: ‘It’s just a tidying up exercise, stripping Coke back to its iconic essentials, what’s creative about that?’ they ask. But for anyone who has had to deal with a large organisation and all the political machinations that entails, Turner Duckworth’s Coke project is exemplary: it’s an all-too-rare instance of a big player doing the right thing, junking all the gratuitous visual nonsense that clutters so much FMCG packaging in favour of purity and simplicity. Some have even intimated that, so rare is it for a huge brand to buy such thoughtful design, the awards should really have gone to the client. That client is Pio Schunker.

Schunker joined Coke from the New York office of ad agency Ogilvy five years
ago to help revitalise a brand that he admits had lost its way. He now glories in the title of ‘senior vice president for creative excellence, North America’. He and his team oversee Coke’s relations with its advertising agencies and design consultancies, a roster that includes Wieden + Kennedy, Mother, Crispin Porter + Bogusky and Turner Duckworth. Schunker says that he deliberately targeted independents to work with. The big net­works, he says, were just giving Coke what they thought it wanted, not what they them­selves believed in. He wanted to work with agencies and design studios who would, rather than simply “stick around for the pay cheque”, believe in what they were doing and walk away if they didn’t get to do it. His views on what he wants from his partners might seem like music to the ears of our readers. He is adamant that he doesn’t want yes men, willing to do anything that the client wants, but strong -willed, committed people who are unafraid to express an opinion: “You want an agency to act as your conscience,” he says, “to say ‘that’s crap, you shouldn’t do that, we’re not doing it’. We value them far more if they value themselves – if they just become doormats we lose respect for them,” he says.

http://www.creativereview.co.uk/back-issues/creative-review/2009/august-2009/coke-a-simple-story

See the work.

“Blind Carbon Copy” is a sly appropriation of a day’s corporate drama. Narrative

action item: Global media conglomerate headquartered in New York City

commissions program bringing to the table ethnic diversity. Visionary program

shall jam the culture inbox, host panel discussions, culminate with cutting edge

art exhibition in midtown corporate lobby. Month of June: the Asians. Global

conglomerate enlists core competency to brain dump Asian American artists to

hang their art in beige hallways of media triumphalism. Eleventh and a half hour

division head issues the disintermediate: Shut it down.

At the end of the day refers to what happened during the day – what got dealt,

what got salvaged, what got tossed out. At the end of the day, “Blind Carbon

Copy” re- shuffles the deck to communicate an elliptical difference, even as that

difference opposes clear definable equalities. The featured works vary from

fashion photography to drawing, sculpture, graphic art and video. Much of these

artists works deploy a detachment of assimilative meaning.

Genres of ethnicity, commercial, fine art start to slope from fulfillment of

distinction to interrelations, intricacies and contradictions of meaning, a ghost

without a host gliding past various check points of identity.

Exhibition hosted by Margaret Lee

Organized by Common Space

contact: Jon Santos

http://yogabbagabba.com/#/cornelius

Short attention span: any film boiled down to a three frame gif.

http://threeframes.net/

via Matthew Owen

Designers Sofie Collin and Gustav Lanber have developed The Carpet Alarm Clock, which forces you to get up and step on it in order to turn it off. Which sounds pretty good in theory, but you’d just end up walking back to your bed and falling asleep. What they really need to do is develop an alarm clock that just lights you on fire in the morning.

via http://www.geekologie.com/2007/06/the_carpet_alarm_clock.php

The Piss-Screen is a pressure-sensitive inlay for urinals that lets you play a game with your pee. It was designed for bars so people would take a taxi instead of driving home drunk. The game is modeled after Need for Speed so that people end up crashing if their reaction is too slow. After crashing, the game flashes the message: “Too pissed to drive? Take a Taxi instead!” Although if they really want to keep people from driving drunk, they should’ve invested in my idea: it’s a toilet that measures your blood alcohol level, and if it’s too high, a fist flies out of the wall and knocks you out. And then I come by and take your wallet. Everybody wins!

The Piss Screen [Official Site]

via http://www.geekologie.com/2007/08/the_piss_screen_toilet_game.php

IKEA abandons ~50 years of Futura and Century Schoolbook for … Verdana.
In an interview with swedish design magazine CAP&DESIGN the reason for the change is to be able to use the same font in all countries, including asian countries. Also they want to be able to give the same visual impression both in print and the web.