Books published by Onomatopee

Essays on print-media culture from Paul Rand to Barney Bubbles by a leading American design thinkerIn Process Music, Virginia-based author Kenneth FitzGerald provides deep readings of print-media artifacts and activities, often through the lens of music. Employing a range of narrative voices, the works combine academic rigor with the accessibility of popular forms such as music journalism. FitzGerald's new book compiles over 40 of his pieces from the last decade--many of which are now inaccessible or behind a paywall--with reprinted works first appearing in outlets such as Emigre, Eye, Print, Idea, Modes of Criticism, Design Observer, Speak Up and Voice: AIGA Journal of Graphic Design. Divided into four thematic sections and a coda, Process Music considers a variety of influential figures working in design and music, including Barney Bubbles, Paul Rand, William Addison Dwiggins and Jacqueline Casey. A prelude composed by AIGA Design medalist and Design Matters host Debbie Millman also features.

When artefacts become pieces of evidence and artists are transfigured into fictional characters animated by their worship of Western art, culture shrinks into the narrow border of the state nation:" would state Tweetu, the weird curator and main suspect of the plot. Detective Elchmanyahu's auto-da-fe follows the bound to fail investigation on the fire that burned a public art collection in southern Tel Aviv. The dodgy officer in charge uses all imaginable tricks and trades of whodunit novels to unfold a police investigation that casts a gloomy yet lucid look over the Israeli culture and its visual art scene. Framed in between fact and fiction by the tendentious writing of Jonathan Touitou, this book is a layered investigation of the art world and its deeds. Against the backdrop of the second Intifada and today's recurrent undermining of Palestinian rights, this controversial book will provide its readers with a perspective of an infiltrated outsider on the Israeli society, possibly supply the welding torch for the cynical ones, a bonfire for the freaks and fireworks for the wholehearted.

On ecological and social metabolisms, cohabitation, engineering and economy in urbanised shallow water territories. This magazine explores two extreme cases of urbanized shallow water territories - Markermeer/IJsselmeer in the heart of the Netherlands and the Venetian Lagoon. One is probably the most technologically controlled water on Earth, while the other negotiates a balance of natural water cycles, extreme weather, and a robust tourist economy. Providing points of reflection for similar territories where prospective sea level rise in the near future poses urgent questions about human and more-than human cohabitation, engineering, economy, and both ecological and social metabolisms. BIOBureau LADA (Landscape, Architecture, Design, Action) is a cross-disciplinary Amsterdam based studio with a focus on architecture. Currently active between Amsterdam, Venice and Cairo, the practice specialises in design strategy, social ecology, and the future of education. Established in 2010 by Croatian-Dutch architect and urbanist Lada Hršak, the studio collaborates with practitioners from the fields of ecology, science, art, heritage, and sociology. The studio's research initiative Shallow Waters was selected for the Parallel Program of the Dutch pavilion at the 2021 Venice Architecture Biennial. The bureau's team members engaged in the Shallow Waters project are Ludovica Beltrami, Juliette Gilson, Lada Hršak, Zoe Panayi, Simone Spiga, and Zhao Zhou.

A chunky artist's-book homage to the Russian Constructivist style that also probes the fluidity of screen and printThis dynamic and superbly designed book is Berlin-based graphic designer Polina Joffe's investigation into Russian Suprematism and Constructivism, demonstrating the fluidity of design in the digital age.

Pedagogical and participatory art from the coauthor of Making and BeingIn Art, Engagement, Economy: the Working Practice of Caroline Woolard, this acclaimed New York-based artist and educator (born 1984) proposes a politics of transparent production in the arts, whereby heated negotiations and mundane budgets are presented alongside documentation of finished gallery installations. Readers follow the behind-the-scenes work that is required to produce interdisciplinary art projects, from a commission at MoMA to a self-organized, international barter network with over 20,000 participants. With contextual analysis of the political economy of the arts, from the financial crisis of 2008 to the Covid pandemic of 2020, this book suggests that artists can bring studio-based sculptural techniques to an approach to art-making that emphasizes interdisciplinary collaboration and dialogue.

Digital art scholars reflect on the cultural impact of digital exhibitionsThis publication investigates the idea of digital exhibitions, gathering artistic and theoretical reflections on post-digital culture. Contributors consider the transformative potential of exhibitions experienced individually behind screens, focusing on questions of subjectivity, technical elements, circulation and cultural impact.

Both practical and critical, this book will guide you through the concepts underlying copyright and how they apply in your practice.How do you get copyright? For what work? And for how long? How does copyright move across mediums, and how can you go about integrating the work of others? Because they get copyright too! Copy this Book will detail the concepts of authorship and original creation that underlie our legal system. This way, it will equip you with the conceptual keys to participate in the debate on intellectual property today. This sharp and useful book shines a light on the rights of all artists to protect¿and share¿their work. Eric Schrijver has produced an essential guide for navigating the new Commons and the old laws of copyright control.

The center of the city is the place for meeting and consumption. It is where everyone goes, it's where our culture is consumed and lived. However, the offering there is limited, and not a lot is allowed. It's not everybody's space, but the space of the majority. Yet even for that majority, there is no free choice, so it is also place for the silent majority. Meanwhile, every human being wants an inclusive culture, with free offering and free access. Although our culture turns out not to be free, but forced. With this project we ask what could be on offer, and what perhaps ought to be? Many free-thinkers such as designers, philosophers, journalists, artists and others take space to explore this. In short: WE ARE THE MARKET! calls out to freedom in the capitalist commons, within the cultural production of the high street.

In this paperback, questions regarding how to navigate in the present are not raised to generate an answer, a method, or a map, but rather as framing principles analogous to those of a logbook. On a voyage, a ship's crew registers surroundings and important events in a manner such as this. The cargo contained within this edition is an assemblage of materials provided by over 60 practitioners from a variety of professions and personal backgrounds, and is therefore heterogeneous in terms of language, form, and content. The resulting narratives emerge across the pages in the trails left by individuals and collectives of human beings as they move, teach, learn and unlearn, traversing the various apparatuses that determine their agency. In this way, the term "navigation" is activated, implicitly and explicitly on myriad levels such as the biographical, historical, epistemological, technological, and the aesthetical.

The Standard Book of Noun-Verb Exhibition Grammar is a partial compendium of the different modes of being that inhabit exhibitions. These different modes of being, often placed outside the realm of art objects proper, are described and activated here as crucial players in the world of contemporary art. Maximizing a poetic resourcefulness, this book proposes the exhibition as an ecology full of things that are infinitely more dimensional than their ascribed functionality would lead us to believe, and creates a space where species meet, where ontological and epistemological registers clash, overlap, and contaminate each other, where the living and inert, organic and inorganic exchange properties, qualities, and performances. Ultimately this book aims to show that what revolves around, within, and beyond any given system resolves to be just as serious and important as what that system aims to convey. The exhibition and catalog are curated by The Office for Curating, a generic name for a curatorial practice and an agency, established in 2012 by niekolaas Johannes Lekkerkerk, working in Rotterdam.

Tracy Mackenna & Edwin Janssen are interested in the relationship between conflict, looking and art. In War as Ever!, through visual reflection on images of war and violence they investigated the relationship between seventeenth century visual representations and the contemporary role of the media in the representation of war and violence.War is of all times, so war is now. By making us aware of war and its consequences, and by undermining representations of war, can artists play a role in preventing and ending wars? How can artists make works that relate to war in productive ways? How can the museums and archives that conserve and interpret our memories of war develop their role to mediate for art? The Van Kittensteyn album, a collection of more than 500 prints and drawings dating from 1613 whose subject is the Eighty Years¿ Dutch-Spanish War of 1568¿1648, served as a starting point. The album, currently part in the collection of the Atlas van Stolk (Museum Rotterdam), was compiled by Willem Luytsz van Kittensteyn of Delft and portrays in bloody reportage the lengthy series of battles; sieges, executions and plundering that dominated the Dutch war of independence against the Spanish. The slide projection WAR AS EVER!: Eighty Years and One Day, also shown at Onomatopee, is made up of a selection of prints from the Van Kittensteyn album and newspaper excerpts reporting the Iraq war on April 1st 2003, the day Tracy and Edwin¿s daughter was born. The full exhibition project as shown at the Nederlands Fotomuseum consisted of a double screen slide projection, performative actions, text posters, photographs, educational activities and a conference. The posters included here and designed by the artists, show a series of quotes from Susan Sontag¿s book ¿Regarding the Pain of Others¿. The images recorded in the WAR AS EVER! publication are complemented by texts by Nederlands Fotomuseum Head of Exhibitions Frits Gierstberg and Lina van der Wolde, Director of the Atlas van Stolk.Artists: Tracy Mackenna & Edwin JanssenCurators: Frits Giertsberg (Nederlands Fotomuseum) and Freek Lomme (Onomatopee)Graphic design publication: Stout/KramerTexts: Lina van der Wolde, Frits Gierstberg and Tracy Mackenna & Edwin JanssenTraslations: Charles Welling and Don MaderMade possible thanks to the generous support of The Carnegie Trust for The Universities of Scotland, Duncan of Jordanstone College of Art and Design, University of Dundee, Municipality of Eindhoven, Mondriaan fund, Stichting Begunstigers Atlas van Stolk and Nederlands Fotomuseum.