Printed Web #1 / Available at www.draw-down.com / The first publication devoted to web-to-print art and discourse. Features 64 pages of new work by artists who use screen capture, image grab, site scrape and search query. Nearly all of the artists use the search engine for navigation and discovery, enacting a kind of performance with data. Presents mounting evidence of a web-to-print practice forming around the artist (as archivist), the web (as culture) and publishing (as both an old and a new schema for expressing the archive). Features: Joachim Schmid, Penelope Umbrico, Mishka Henner, Clement Valla, David Horvitz, Chris Alexander, Christian Bök, Benjamin Shaykin, and Paul Soulellis. Texts by Hito Steyerl and Kenneth Goldsmith. #graphicdesign #typography #web #print #printedweb #newspaper #zine #internet #design #archivist #web #DavidHorvitz #archive #navigation #art
E-book backup is a physical, tangible, human readable copy of an electronically stored novel. The purchased contents of an e-book reader were easily photocopied and clip-bound to create a shelf-stable backup for the benefit of me, the book consumer. I can keep it on my bookshelf without worry of remote recall. A second hardcover backup has been made with the help of an online self-publishing house.
In 2009, some Amazon Kindle users found their copy of George Orwell’s 1984and Animal Farm had been removed from their Kindles without their prior knowledge or consent; those particular copies were offered for sale by a publisher who did not have the proper rights to do so. After consumers spoke out about having a book taken from them without their consent, Amazon later reinstated the copies taken from those who purchased the book or offered gift cards as compensation for the inconvenience, and promised never to repeat such an event in the future.
Printed Web #3 will be a compilation of one-page submissions. Submit anything from the web/internet. There is no theme, only ideas: email, texts, code, snapchats, screenshots, flickr, tumblr, recipes, junk, stolen stuff, data, letters, archives, webcams, wikis, porn, lists, comments, NSA, geocities, google maps, documents, spam, darknet, friendster, passwords, anonymous, art, yelp, thumbnails, family photos, street-view, youtube, etc. Send each submission as a single US-letter size (8.5" x 11") PDF. Design and formatting is up to you. #3 will be portrait-oriented, like previous issues. Your work will be attributed and your name included somewhere in the printed publication—no need to put it in the PDF (unless you want to). Multiple submissions are okay. Send PDF to: email@example.com Deadline 11:59pm EST Sunday 15 February 2015.
Seattle native Chloe Scheffe is a graphic designer with an affinity for “weird display type, fresh flowers, English quiz shows, and a good sentence.” Currently she is working at Other Means, and will be departing for MetaHaven in the Fall.
Muse’s Milk: Tell us your story.
Chloe Scheffe: I came into graphic design in an unremarkable way, almost by accident. Like many of your interviewees, I grew up drawing. Art stayed a hobby until I went to an artsbased high school called Tacoma School of the Arts, where I concentrated in the visual arts—I focused in very traditional media, like graphite and china marker.
Even as a high schooler, though, I was almost overly practical, and I had no allusions that I was actually going to be a fine artist. I always sensed that I couldn’t make a living doing art. That knowledge, however premature or limiting, and a knack for ‘layout’ that my drawing teacher identified in one of her reviews of my weekly required sketches, prompted me to take my first graphic design class during my junior year. I really hated it. But I stuck with it, and by the end of the semester I was doing graphic design for fun—along with my twin sister, also a graphic designer, I designed most of the posters for the shows and concerts put on by the performing arts concentrators. At the end of our senior year we decided that we would both pursue graphic design in community college, which, if we changed our minds, felt like a safe and reasonable investment of time and money.
John F. Malta is a painter and illustrator based in Kansas City, Missouri. Malta’s paintings explore a perpetually evolving narrative inspired by his teenage years traversing through the Northeast Ohio punk scene, wading through murky creeks, and skateboarding till he could no longer see the road in front of him. His most recent work is cluttered with artifacts from a life spent raising reptiles, reading comics, hanging out at amusement parks, and exploring the great american plains with his pitbull Hanz. John’s work has appeared in The New York Times, The New Yorker, The Washington Post, VICE, The Village Voice, and Surfing Magazine.
4-Color Screen Printed Poster
18" x 24"
From “House of Ghouls,” Malta’s first solo show since 2009, which took place at Not Gallery in Austin, Texas over New South Fest weekend