Paper Monument #1

Paper Monument

Christopher Hsu

J.D. Daniels

Katie Sonneborn

Jason Murison

David Kearns

James Bae

Megan Heuer

Naomi Fry

Brian Sholis

Arts & Photography

Paper Monument's first pamphlet, I Like Your Work: Art and Etiquette, has contributions from 38 artists, critics, curators, and dealers on the sometimes serious and sometimes ridiculous topic of manners in the art world. The art world is now both socially professional and professionally social. Curators visit artists studios; collectors, dealers, and journalists assemble for a reception and reconvene later for dinner; everyone goes to parties. We exchange introductions and small talk; art is bought and sold; careers (and friendships) brighten or fade. In each situation, certain behaviors are expected while others are silently discouraged. Sometimes, what s appropriate in the real world would be catastrophic in the art world, and vice versa. Making these distinctions on the spot can be nerve-wracking and disastrous. So we asked ourselves: What is the place of etiquette in art? How do social mores establish our communities, mediate our critical discussions, and frame our experience of art? If we were to transcribe these unspoken laws, what would they look like? What happens when the rules are broken? Since we didn t have all the answers, we politely asked our friends for some help.

I Like Your Work: Art and Etiquette

History & Criticism

Draw It with Your Eyes Closed: the Art of the Art Assignment, is a unique and wide-ranging anthology featuring essays, drawings, and assignments from over 100 contributors including: John Baldessari, William Pope.L, Mira Schor, Rochelle Feinstein, Bob Nickas, Chris Kraus, Liam Gillick, Amy Sillman, James Benning, and Michelle Grabner. Practical and quixotic in equal parts, the art assignment can resemble a riddle as much as a recipe, and often sounds more like a haiku, or even a joke, than a clear directive. From introductory exercises in perspective drawing to graduate-level experiments in societal transformation, the assignment coalesces ideas about what art is, how it should be taught, and what larger purpose it might, or might not, serve. The book is a written record of an evolving oral tradition. Bringing together hundreds of assignments, anti-assignments, and artworks from both teachers and students from a broad range of institutions, Draw It with Your Eyes Closed serves as an archive and an instigation, a teaching tool and a question mark, a critique and a tribute.

Draw It With Your Eyes Closed: The Art of the Art Assignment

Artists studios have been burning down for centuries. In Paper Monument s newest publication, On Fire, author Jonathan Griffin asked ten contemporary artists how they recovered after their studios went up in flames. Talking to them, he gained surprising insights into their working methods, their relationship to their chosen profession, and their reasons for making art. On Fire is at once an oral history of the phenomenon of the studio fire a catastrophic but potentially transformative event in the lives of a surprising number of artists and a behind-the-scenes look at daily life in the artist s studio. As Griffin writes in his introduction, For each of these artists there was an instant when time spun on its axles, when they realized that the tiny refuge of safety and freedom that they had won for themselves was gone. It would take months and years, resources and resolve to claim it back. But in the process, something unexpected and valuable career-altering, in many cases was revealed to them about the stakes and the possible rewards of their lives as artists. On Fire includes writing on Matthew Chambers, Anthony Pearson, Christian Cummings, Catherine Howe, Erik Van Lieshout, JP Munro, William J. O Brien, Kate Ruggeri, John Riepenhoff, and Brendan Fowler.

On Fire

Jonathan Griffin

The Miraculous presents the artistic avant-gardes of the last five decades as a tapestry of incidents as fascinating and unlikely as any collection of myths or legends. Thinking more of Kafka's Parables than Vasari's Lives of the Artists, Rubinstein composes a series of micro-narratives celebrating the mystery and ingeniousness of these human activities which, for lack of a better term, we call contemporary art. Each of the fifty episodes in The Miraculous is a richly detailed telling of the circumstances surrounding a single work of art; only the name of the artist is withheld until the end of the book. As Michael H. Miller wrote describing the book in ARTnews: the works take on the icy detachment of a Lydia Davis story, a floating concept with no clear context. Distilled to only an idea, the pieces bask in their more intriguing narratives and separate themselves from the heavy baggage of authorship and intention. Includes writing on fifty artists such as Joseph Beuys, Yoko Ono, Marina Abramovic, Lee Lozano, Tseng Kwong Chi, Cindy Sherman, David Hammons, and R.H. Quaytman.

The Miraculous

Rubinstein, Raphaël

"Since the turn of the millennium, artists have been writing, and circulating their writing, like never before. The seventy-five texts gathered here--essays, criticism, manifestos, fiction, diaries, scripts, blog posts, and tweets--chart a complex era in the art world and the world at large, weighing in on the exigencies of our times in unexpected and inventive ways." -- Publisher's description. Contributions by Jimmie Durham, Hito Steyerl, Mike Kelley, Adam Pendleton, Ai Weiwei, Frances Stark.

Social Medium: Artists Writing, 2000–2015

Product Description Have you sensed a change in the position of the art institution vis-à-vis political activism? Can an art institution go from being an object of critique to a site for organizing? How? Should the art institution play this kind of role? What other roles can or should it play? What other institutions, curators, or publics do you look to in formulating your own institution's position? How can an institution address the dichotomy between art as cultural entertainment and art as political inquiry? What is the role of the curator in mediating this? How does this compare to the artist's role? How can art institutions be better? About the Author PAPER MONUMENT is a non-profit art press intent on presenting smart, serious writing that is accessible to a wide audience. Based in Brooklyn, NY, Paper Monument is published by the n+1 Foundation and designed by Wkshps.

As Radical, as Mother, as Salad, as Shelter: What Should Art Institutions Do Now?

This collection of seventy-three letters written in 2020 captures an unprecedented moment in politics and society through the experiences of Asian-American artists, curators, educators, art historians, editors, writers, and designers. The form of the letter offers readers intimate insights into the complexities of Asian American experiences, moving beyond the model-minority myth. Chronicling everyday lives, dreams, rage, family histories, and cultural politics, these letters ignite new ways of being, and modes of creating, at a moment of racial reckoning.

Best!: Letters from Asian Americans in the Arts

Critics who “have an agenda” are admonished for putting social, ideological, or political concerns ahead of honest judgments. But are judgments ever neutral? How can agendas productively heighten the stakes and impact of criticism? In Track changes: a handbook for art criticism, twenty-five art writers and editors share strategies for critical writing and editing that show how articulating goals and values can lead to more thoughtful publishing practices and actively challenge structural inequalities within the art world. Collecting case studies, conversations, manifestos, and reflections on the technical and ethical choices that writers and editors face, Track changes is a rigorous, practical, and supportive guide to art criticism―a mentor in book form. The chapters follow the stages of the editorial process, at each step examining the field’s assumptions, foregrounding strategies for solidarity and reparative decision-making, and envisioning an intersectional feminist approach. With contributions by: Kemi Adeyemi, Andy Campbell, Erica Cardwell, Re’al Christian, Aruna D’Souza, Leslie Dick, Amy Fung, Merray Gerges, Annie Godfrey Larmon, Ariel Goldberg, Yves Jeffcoat, Dana Kopel, Yaniya Lee, Dessane Lopez Cassell, Jessica Lynne, Tausif Noor, Ashley Stull Meyers, Lindsay Preston Zappas, Kristina Kay Robinson, Jillian Steinhauer, Ana Tuazon, Monica Uszerowicz, Wendy Vogel, Emily Watlington, Elisa Wouk Almino.

Track Changes: A Handbook for Art Criticism

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