Paper & Carriage no. 3

Magazine. Edited by Joanna Zopor Mackenzie, Caroline Picard, Chaz Reetz-Laiolo, and Shannon Stratton. The third issue of PAPER & CARRIAGE features the writing of Henry Darger, Dan Beachy-Quick, Rolf Achilles, Kate Zambreno, Richard Stern, and Juliana Driever, with images by Daniel Johnston, artist multiples by Sherri Lynn Wood and Carmen Price, and an artist centerfold curated by Brooke Anderson, in conjunction with the exhibit “DARGERism” at the American Folk Museum in New York. Letterpress cover featuring a list of objects in Darger’s room.

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Paper & Carriage no. 2

Magazine. Edited by Joanna Zopor Mackenzie, Caroline Picard, Chaz Reetz-Laiolo, and Shannon Stratton. PAPER & CARRIAGE is a non-fiction journal printed in a slow-media style; the authentic handling and delivery of unique contemporary voices, text and genres is our primary goal. This second issue features writing by Alex Javanovich, Moshe Zvi Marvit, Colin Beattie, and Dora Ishida, accompanied by the second installment of graphic novelist Lilli Carre’s year long contribution “HUMS” and artist centerfold project by Deb Sokolow.

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Paper & Carriage no. 1

Magazine. Edited by Picard, Chaz Reetz-Laiolo and Shannon Stratton. PAPER AND CARRIAGE is a non-fiction journal printed in a slow-media style; the authentic handling and delivery of unique contemporary voices, text and genres is our primary goal. This premier issue features writing by Alexai Galavaiz-Budziszewsk, Kathleen Kelley, Peter Orner, and Sam Schwartz, accompanied by the first installment of graphic novelist Lilli Carre’s year long contribution “HUMS” and artist centerfold project by Scott Patrick Wiener. Elisa Bogos supplies photographic work, while each cover is hand silk screened by Chicago printmaker Dan MacAdam of Crosshair. Published in conjunction with ThreeWalls.

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Phonebook 2008/2009

Cultural Writing. Art. Reference. Edited by Caroline Picard, Nick Sarno, and Shannon Stratton. Back by popular demand, PHONEBOOK is the essential travel guide to artist-run centers, small not-for-profit, fringe galleries, and other exhibition and presentation projects. This new edition adds over 50 news spaces in the United States and over 40 Canadian centers alongside updated entries, periodical listings, a series of essays from across the country and some road-trip tips from the editors. PHONEBOOK is a valuable resource for artist and audience alike, connecting a web of makers and projects while acting as an archive of work by smaller organizations … Read more

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Talking With Your Mouth Full : New Language For Socially Engaged Art

Lori Waxman

Claire Pentecost

Carrie Lambert-Beatty

In conjunction with threewalls 2008 symposium Talking With Your Mouth Full features essays by Lori Waxman, Claire Pentecost and Carrie Lambert-Beatty. The more art slides between convention and social action, sculpture and public performance, art and the everyday, the more complicated it becomes to talk about. As socially engaged art rides the boundaries of multiple subjects simultaneously, historians, critics and other artists must develop multifaceted responses. To discuss projects that include a broad and unfolding web of topics such as art, ecology, racial politics, and gender is to speak in many voices all at the same time. The aim of … Read more

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Fragments

David Carl

Fiction. An extended meditation on the sentence–an inquiry into how we make use of language to express our selves, and an investigation of how language helps shape and determine who and what those selves are. An imaginary conversation between Falstaff and Chuang Tzu, Veronica Lake and Ludwig Wittgenstein. A love story told through grammatical miscalculations, syntactical anomalies, and the fortuitous discoveries of vocabulary: “Intelligence is manifest in the ability to get what one wants, wisdom in the ability to properly determine what that is. For months he lived on Altoids, coffee, vitamin C, and the hope that she would call. … Read more

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Lust & Cashmere

A.E. Simns

Fiction. Things can happen when a man falls in love with a sweater. This book is about an unrequited love limited to self-imposed doctrines of propriety. Any number of intellectual conclusions can be drawn, but even the most serious will have to negotiate the gutter, which plagues Jon McManus and eventually the reader. It is divided in three parts, beginning with a Cinderella story. The first part is a straightforward narrative, the second a choose your own adventure and the third an absurd play.

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