
My first thought upon getting my hands on Clip Stamp Fold: The Radical Architecture of Little Magazines 196X to 197X was "Who the hell put up the money to print this thing?" Turns out it was an architecture publisher out of Barcelona: Actar. They must be well-funded because this book that accompanied a travelling exhibition is an amazing production. It is in essence an exhibition in book form with tons of interviews, transcripts of symposia, facsimiles of magazines and tons of images. The book captures a moment in publishing history when architecture magazines were infused with the spirit of littleness, counterculture, and theortical fervor, and the book itself is a form of radical architecture.I was hoping that the exhibition made much hay with the idea of the little magazine as architecture. It does to a certain extent, particularly with a publications like On-Site and Form, which was featured in Mimeo Mimeo 3, but the connection of the magazine as a structure, a construction in itself did not dominate this exhibit.
I touched on this approach with my post on Mimeo as Junkspace and I would have loved to hear how a mimeographed architecture magazine reflected the architectural theories of the time beyond mere expediency. Clipping, stamping, folding, stapling, copying, mimeoing, silk-screening, mailing, etc are central to the little mag of the post-WWII era but also crucial means of construction in the field of architecture, as Rem Koolhaus has made clear.
Such a connection seems to be one of the major considerations in analyzing magazines right now. In Numbers and Artists Magazines: An Alternative Space for Art are spearheading this approach. The idea of the little magazine as more than just a representation of the gallery, the museum, the library, the archive, but as an actual structural object, as a radical architecture is in its foundational stage. If you need proof of the immaturity of the study of the publications of the Mimeo Revolution, revisit the Secret Location on the Lower East Side after reading Clip Stamp Fold. The research and archival work that remains to be done on the topic is staggering and very exciting.
JB
MIMEO MIMEO #8: CURATORS' CHOICE features 16 bibliophiles on 6 highlights from their personal or institutional collections. Contributors include Steve Clay, Wendy Burk, Tony White, Brian Cassidy, Thurston Moore, J.A. Lee, Michelle Strizever, Adam Davis, Michael Basinski, Joseph Newland, Alastair Johnston, Tate Shaw, Michael Kasper, Steve Woodall, Molly Schwartzberg, Nancy Kuhl, James Maynard, and the Utah posse (Becky Thomas, Marnie Powers-Torrey, Craig Dworkin, Emily Tipps, Luise Poulton, & David Wolske)
MIMEO MIMEO #7: THE LEWIS WARSH ISSUE is the first magazine ever devoted in its entirety to poet, novelist, publisher, teacher, and collage artist Lewis Warsh. Warsh was born in 1944 in the Bronx, co-founded Angel Hair Magazine and Books with Anne Waldman in 1966, and went on to co-found United Artists Magazine and Books with Bernadette Mayer in 1977. He is the author of over thirty books of poetry, fiction and autobiography, the Director of the MFA program in Creative Writing at Long Island University in Brooklyn, and as you’ll soon discover, so much more. Includes an introduction by Daniel Kane, an interview conducted by Steve Clay, 10 new stories, 5 new poems, dozens of photographs and collages, and an anecdotal bibliography.
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MIMEO MIMEO #6: THE POETRY ISSUE is devoted to new work by eight poets who have consistently composed quality writing that has influenced and inspired generations since the golden era of the mimeo revolution. Contributors include Bill Berkson, John Godfrey, Ted Greenwald, Joanne Kyger, Kit Robinson, Rosmarie Waldrop, Lewis Warsh, and Geoffrey Young. Cover art by George Schneeman.
OUT OF PRINT
MIMEO MIMEO #3: THE DANNY SNELSON ISSUE examines the relationship between structuralism and the poetries of the mimeo era by presenting a detailed analysis of Form (a Cambridge-UK magazine published in 1966) and Alcheringa (a journal published by Boston University in 1975), two exemplary gatherings that illuminate the historical, material and social circumstances under which theory informed art (and vice versa) in the early works of some of today's most celebrated experimental writers. Also includes a special insert, The Infernal Method, written, designed and printed by Aaron Cohick (NewLights Press).
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MIMEO MIMEO #2: features Emily McVarish on her artist's book Flicker; James Maynard on poet Robert Duncan's early experiences as an editor and typesetter; Derek Beaulieu on the relationship between the influential Canadian poetry journal Tish and Black Mountain College; and an extensive interview with Australian poet and typographer Alan Loney conducted by Kyle Schlesinger. Cover is by Emily McVarish.
OUT OF PRINT
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