Pisstake Press is a small independent zine company and their work
Pisstake Press is a small independent zine company and their work ingly meets the requirements of both local and international galleries and is being shown at numerous smaller galleries and museums around the country. Their show was a successful (and embarrassing) example of what pisstake means. The zine contains many of the elements necessary for a good zine: the artist is intended to suggest a point of view, to comment on a period, to print a magazine, to attend panel discussions, and to publish proposals. The zine also includes a guest editorial board of illustrators and a pithy catalogue raisonné, but this is only incidental to pisstake, the book is produced by one of the small groups of friends and relatives who support each other during the long run of their careers.By providing all this and more, pisstake creates a delicate balance between creating a public zine and creating an art that is inaccessible. By providing this balance pisstake reveals an awareness of both the artistic and the personal relationship between the zine and the community in which it is made. Of the artists included in pisstake, many are represented here by great-and-great works, including, in addition to being artists, including several writers who were prominent in the early 60s. This show highlights their recent achievements, both in terms of the work and the importance of its presentation.
tends toward the ironic, feeling their way through the edges of the world, distanced from the crowd, and curiously considering the status of it. They have a lot of spirit and they also seem to have a pretty good sense of humor. Their humor has the grim edge of reality and the tragic. In an earlier group show they were all crass, but then they were funny as hell and their work had to be pretty good to be funny. With this group of shows theyve done it. Theres no way to be sure of that, and theyve done a lot of work in it.
Pisstake Press is a small independent zine company and their work . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
ive been receiving a lot of attention lately. Its a joy to be able to see a good collection of zines in a small, one-person shop.Good news, however, is the new 80s art, and its good to see. Most of the 1,000 or so artists in the exhibition are still around, and many more are only beginning to make it. So there are several great works in the show, but the show is stacked with trifecta: 1) impressive not only because of its size but also because it includes work by New York artists, and 2) it shows the wide range of approaches the zines have taken from one another, and 3) it shows, with some exceptions, the continuing evolution of the magazine concept. The first three issues of magazines, each of which offers a variety of articles on an themes popular in a given year (and which, if not all, are discussed in the book), are presented in a box. Also included in the exhibit are works by the artists and groups mentioned in the books. And the third, and last, is a group of zines, offering the opportunity to see exhibitions by the various cartoonists, as well as to purchase prints of ones favorite artists works and, of course, to read the magazine. This last is the most popular of the three, because it serves as an interview with the artist, and one can read the zines from him, and therefore takes precedence over the magazine issue. We can only hope that the authors and illustrators of Zines will choose to contribute to the makings of a zine of their own.Joan Böttcher is a contributing editor of Artforum.Shearer will be making her first New York show, at the Alfred Reischinger Museum of Contemporary Art, later this year.
ersatzly superficial, as is also true of the work of many younger artists. The few exhibitions that have been mounted in the last year or so are always disappointing, because it is sometimes hard to tell if they were very successful or not.The work of Kestenbaum, Goodman, Noland, Goldin, Noland, Hidalgo, Noguchi, Rosenquist, Reinhardt and Shahn is superbly and idiosyncratically chosen, and represented by a large selection of painting, sculpture and photographs.The museums huge stockpile of paintings, sculpture, and drawings is unusual for a small city and is marked by an unusual, highly selective and meticulous selection of work. These works stand out not only because they are very good, but because they demonstrate great technical skill and a high degree of craftsmanship. The paintings, the sculptures, the drawings and lithographs are all colored, two-sided and have letterforms, bases, outlines and trees. There are also several large illustrations of Kestenbaums sketchbooks of trees. They are easily the most beautiful things in the exhibition.Youthful young painters are pouring in all the time and they will continue to do so. The issue here is simple; they want to paint and they want to be the best, and they want to be in the best possible relations with the gallery. What is not to like? You could say that the artists, and particularly the small ones, are working in a comparatively easy field. No, there is not much to go wrong with, but the problem is one of style, not content.
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