At Last Books – förlag

A collection of 64 watercolour paintings by Risley, painted during the pandemic in 2020. The paintings, all the same motif, of people waiting in line for the gun store to open in Culver City, LA, when lockdown was announced. As the world changed dramatically that year, the paintings changed as well. When BLM protests started David added flames to the hills, then the Gun Store itself caught fire. People still waiting in line. The image of the Gun Store is an image of America. The image changes as it changes. Texts by Lindsay Preston Zappas, Labi Siffre, William Pym and Christian Viveros-Fauné.

Revenge publishing? A new genre? Or has it been around since writers first put pen to paper? Isn’t all writing to some degree a means to avenge an oversight or a rejection, intending to set the record straight? A number of pieces in this collection which were commissioned, accepted, and paid for, never appeared for one reason or another, whether devious or common: books don’t always cross the finish line. Years go by. Patience evaporates. Corrected Proofs aims to seek remedy.In addition to previously unpublished pieces, a number of essays and interviews were written specially for this collection: on Lutz Bacher and Charles Ray, with Arnold J. Kemp. There are heroes and villains, from the assassins John Wilkes Booth and Lee Harvey Oswald, to Felix Gonzalez-Torres, Cady Noland and Steven Parrino. Here the reader encounters usual suspects in unexpected context—Marcel Duchamp, Ed Ruscha and Andy Warhol—and artists recently rediscovered—Bob Smith and Stephen Varble—alongside Lee Lozano, the January 6 insurrection, and The Fall.

‘29 Flags’ investigates and reflects on events that mesmerised America and the rest of the world. These are not all major events seen in the harsh light of history, but mass media made them unavoidable and pushed them into the realm of common western consciousness. These are all stories that we watched unfold in what seemed like real time. DeWitt deconstructs these moments in the exhibition, his language a mixture of haiku poetry, TV shop, breaking news and text message. He facilitates a memorial of moments: a piercing wake for 29 Flags, or 29 —still relevant— moments from the past telling us about today. With an introduction by Jesper Elg, director of V1 Gallery and an essay by William Pym.

The concerned defacement of an artist’s work. A black-and-white, behind the scenes look at twenty-six exhibited works by Gardar Eide Einarsson, with conservators notes highlighting the damages and concerns of Einarsson’s paintings and sculptures.

In the fall of 2017, writer and curator Bob Nickas opened up a store in the front room of Martos Gallery, and called it May 68 Books & Records. From the store, a one-year project named after the year of global revolt, Bob would sell books and records from his own collection, along with showing art each month. The publication is a documentation of this event. Artists included in the book: Amy O’Neill, Arnold J. Kemp, Harris Rowland Rowland, Israel Lund, Jessica Diamond, John Miller, Josh Smith, Jutta Koether, Lisa Beck, Matthew Higgs, Nikholis Planck, Olivier Mosset, Ryan Foerster, Steven Stapleton, Virginia Overton and Wayne Gonzales. A selection of May 68's Instagram posts comprises the second half of the book.

Future Techno Fossil Tumbleweed' takes off after Øvlisen’s solo show 'Techno Fossil Tumbleweed' at Eighteen Gallery in November of 2016, and looks into his practice and inspirations as an artist with texts, new and old, by Andrianna Campbell, Nick Paumgarten, Knud Romer, Jesper Elg, Paul Auster, Paul Barolsky and Thomas Øvlisen. “Have you ever encountered a tumbleweed? It is a dry nest of entangled brush. Faint memories come to mind of such a diaspore, a naturally occurring plant that detaches from its roots, rumbling down a road in a ghost town in New Mexico. Its shadows made distinct by the harsh grazing light of that almost barren landscape. I recall the silhouette of a group of twenty-somethings shambling through town. Our paths blocked by those very tumbleweeds; large disseminules taking up space and standing like animals in the road. They were on some migration path. They were evidence of some natural dispersal of organic matter. Not one tumbleweed, but so many carried on the wind to nestle between the ruined shacks of a nineteenth-century brothel and a few decrepit homes. Compare the scattering of these waist-high tumbleweeds to the 79. 000 metric tons of trash in the Great Pacific Garbage Patch: 1. 8 trillion pieces of plastic that constitute an island in the Pacific Ocean. ”From Plastic Possibilities: Future Techno Fossil Tumbleweed by Andrianna Campbell. With hand drawn covers, signed and numbered by the artist.