CREDIT by Mathew Timmons. Blanc Press, September 2009. "Almost all of America's wealthiest citizens are poorer this year." CREDIT is an 800 page, large format, full color, hardbound book, released by Blanc Press in Los Angeles-the longest, most expensive book publishable through the online service, lulu.com. Divided into two sections, Part A: Credit-26 parts (a-z) and Part 2: Debit-10 parts (1-10), CREDIT is a highly revealing and emotional work chronicling a personal tale of credit. In late spring 2007 as an irrational exuberance and promise of financial fortune hung in the air, mailboxes were filled with generous and gracefully worded offers of credit. Just over two years later, in midsummer 2009, the shape of the financial environment changed radically and mailboxes still filled up with statements of credit. Something had to change, offer turned to obligation. Retailing for $199.99, CREDIT is a book the author himself lacks the cash or credit to buy. Mathew Timmons' CREDIT has been roundly endorsed by a number of artists, writers, editors and critics, including: Harold Abramowitz, Stan Apps, Marcus Civin, Brian Joseph Davis, Ryan Daley, Craig Dworkin, Brad Fliss, Lawrence Giffin, James Hoff, Maximus Kim, Matthew Klane, Janne Larsen, Matthias Merkel Hess, William Moor, Joseph Mosconi, Holly Myers, Sawako Nakayasu, Sianne Ngai, Ariel Pink, Vanessa Place, Dan Richert, Ronald Quinn Rudlong Jr., Ara Shirinyan, Danny Snelson, Erika Staiti, Brian Kim Stefans, Robert Summers, Rodrigo Toscano, Matias Viegener and Steven Zultanski.

Credit

Literature & Fiction

Timmons, Mathew

Poetry

Insert Blanc Press

"Herzog is headed into provocative territory."-Christopher Knight "At the nexus of critical information theory, disjunctive librarianship, and gender and technology studies, ... Herzog's work is a cybernetic handle for us to use, like Palinurus' rudder, to cut through information landscapes across time and space."-Amelia Acker "In our computer age, after the impact of mechanical reproduction has been absorbed into our bodies and psyches, Herzog manufactures unique paintings that communicate with each other and with the Other of technology. These pieces address the power of words and information to be things that physically affect us. Replicating / doubling /embodying / one-step-furthuring that power, she makes them into things, with the effect that the viewer is put into the position of both experiencing the thing and becoming enlightened as to the process of how the information becomes a thing."-Andrew Choate Katie Herzog's cross-disciplinary practice addresses information economies utilizing painting as a mode of representing, producing, and deconstructing knowledge in the public sphere. For her solo exhibition, Object-Oriented Programing, at the Palo Alto Research Center in 2012 (PARC, a Xerox company), Herzog exhibited over fifty paintings in the hallways and lobbies of one of the most storied institutions in the history of information technology. Object-oriented programming is a computer programming paradigm that was introduced by PARC in the early 1970's. This new language used "objects" as the basis for computation (capable of receiving messages, processing data, and sending messages to other objects), as opposed to the conventional programming model, in which a program is seen as a list of tasks. Herzog's exhibition utilizes this concept as a conceptual and epistemic basis for how her paintings function as a language to develop meaning, where "programming" in the exhibition title connotes both contextualized computer programming as well as public programming. Works in the show provide expressive, symbolic, and conceptual narratives of an information era, including "If I Die My Email Password Is," "Documents (Heads You Lose)," and "Information Overload Syndrome," among others. Herzog's practice embodies a unique visionary approach to painting, knowledge production, and artistic research, through a multifaceted engagement of civil service, disjunctive librarianship, and animal-assisted literacy. Katie Herzog received a Bachelor of Fine Arts at the Rhode Island School of Design, a Master of Fine Arts at UC San Diego, and studied Library and Information Science at San Jose State University. She currently serves as Director of the Molesworth Institute and is based in Los Angeles, California. This exhibition was made possible by a grant from the Center for Cultural Innovation.

Katie Herzog: Object-Oriented Programming

Arts & Photography

Herzog, Katie

Individual Artists

"Russell weaves his writing into pictures... He chops his text into geometric shapes, casts it in rainbow colors and visually assaultive fonts, and scratches it onto photographs. In the work contained here, in Pattern Book, he laces text into art nouveau wallpaper, dissolving his stories into a swooning screen of domestic pattern. At every turn, it seems, Russell throws some wrench into the cogs of literary consumption, slowing the reader down, jostling expectations, demanding attention-challenging the reader, in other words, to really want to be reading."-Holly Myers Pattern Book by Christopher Russell collects a number of images and texts, images woven through texts, and texts woven together through images. Kevin Killian, author of Impossible Princess (City Lights 2009), says, "I was born wanting a Christopher Russell to join me in this confusing world.... I wanted a boy with confused gaze, mortified as I am by the harsh and ugly crumples of life, but one who, with bold decisive strokes, could hack a pathway out if it. ... Russell's method, in which he dethrones language's hegemony over rival visual formations by distorting and exaggerating its recognizable, even homey, patterns borrows roots from many traditions. Medieval monks are said to have curried favor with abbots by carving Bible verses into the head of a pin. ... When language, or the image, is enervated, the work of art has room for other connotations to manifest. ... And in these beautiful pages we will see, and we will not see, things it will take us a hundred years to understand."

Pattern Book

Russell, Christopher

Lounge Acts

Nufer, Doug

( x== 33]) Book 1 Volume 1 by .UNFO is the first volume of a projected multiple volume set. What if you had a very long book and made it longer? With ( x== 33]) .UNFO seeks to indexically lengthen the world's most monumental texts through failed software operations. ( x== 33]) is curated by UNFO (Unauthorized Narrative Freedom Organization), an unofficial and temporary coalition of coders and writers, including Dan Richert and Harold Abramowitz. Blanc Press: It's material

(!x==[33]) Book 1 Volume 1

Abramowitz, Harold

Unfo

Blanc Press is pleased to announce the release of (!x==[33]) Book 1 Volume 1 by .UNFO the last volume in a six volume set of which only the first and last will be published. What if you had a very long book and made it longer? With (!x==[33]) .UNFO seeks to indexically lengthen the world's most monumental texts through failed software operations.\n(!x==[33]) is curated by UNFO (Unauthorized Narrative Freedom Organization), an unofficial and temporary coalition of coders and writers, including Dan Richert and Harold Abramowitz.\n(!X==[33]) BOOK 2 VOLUME 3 
Hardcover with dustjacket 776 pages 
Blanc Press February 2014 
ISBN 13: 978-0-9911092-1-0 
Dimensions: 6.25 x 9.5 x 2 inches\nBlanc Press: It's material!

(!X==[33]) Book 2 Volume 3

Ruin Upon Ruin by Ben White Essays by Doug Harvey and John Hogan Hardbound, full color Dimensions: 8.75" x 11.5" x 0.5" 140 pages The Insert Blanc Monograph series continues with Ruin Upon Ruin by Ben White accompanied by a Limited Series of paintings available for sale from Insert Blanc Press. Featuring 30 paintings along with numerous details and images from White's sketchbook, Ruin Upon Ruin by Ben White collects a number of White's paintings into a single body of work from over the past five years. A large format, full color, hardbound edition of 140 pages with essays by Doug Harvey and John Hogan, Ruin Upon Ruin by Ben White is forthcoming in summer 2014. "Ben White conflates figures from American history and folk tales with contemporary box stores and roadside attractions, pointing to the relativity of cultural import and the collapsible nature of intellectual, philosophical and religious "progress" in America." - John Hogan, Art21, May, 2012. "Ben White's paintings merge anachronistic personages, events, biblical narratives, and popular culture to create a fantastic, nonlinear interpretation of history. ... The incongruencies are absurd, and the absurdity itself pulls them into the present. ... It becomes our history again, on equal terms with the present and once again acceptable as subject matter for contemporary painting. Historical gravity, leavened by wit, becomes a source of pleasure and fascination." - Lara Bank, California Contemporary Art, Summer 2010 "If one were to run across one of Ben White's paintings at a suburban garage sale or in the dusty backroom of a thrift store, one would snap it up immediately, display it prominently in one's hip Silverlake-adjacent living room, then post it immediately on Facebook, hoping to learn more about the quixotic outsider genius that produced it. The Council of Nicaea supervising the faking of a moon landing? Unimpeachable. Liberace among the Hyenas in the Colloseum? Fabulous!"-Doug Harvey Born in 1978 in Jacksonville, FL, White studied painting, drawing, and printmaking at the Florida State University School of Art from 1997 to 2001. Two of those years were spent studying, researching, and creating work in Florence Italy, where he first began to develop a visual language that spoke to the recondite nature of established historical narratives and the visual propaganda which creates those narratives. He received his MFA from CalArts in 2003. White's work and curatorial design have been shown in numerous group and solo exhibitions at venues such as Blythe Projects, The Torrance Art Museum, Sea and Space Explorations, the Santa Monica Museum of Art, and many others. White is the a recipient of the Pollock-Krasner Foundation Grant for 2011-2012, and his collaborative work has been seen in Flaunt magazine. He co-produces and hosts the art and culture show "The People" on KCHUNG radio 1630AM, and currently lives and works in Los Angeles, CA.

Ruin Upon Ruin

White, Lecturer in the Department of Agricultural Economics and Food Marketing Ben

History & Criticism

For God by Todd Collins Murder, robbery, revenge, love and telecommunications. Non-finite bodies and endless subjection. Surrender to the narration. For God is a text you can actually read and apprehend as pure pleasure. Bathe in an elusive omniscience and enjoy sentences that shoot out like ribbons of pus, offering the reader mutilation and even more beauty. "Todd Collins is a stone-original among wannabes, with a sacred-profane vision fractured like a stained-glass window or vandalized mirror. This is brilliant neo-noir fiction searching for a shadow that's worthy of it."-Steve Erickson (author of These Dreams of You and Zeroville, Europa Editions) "The Spirit of Liberty is coming like a battering ram. The Collective Democratic Party (CDP) wants to eradicate Capitalism. Carry wants to kill America, first a beautiful woman with a tiny wiener, then a tall man who likes smoking weed and taking pictures of himself with his balls hanging out. The narrator, who may be called Garry and whose gender is uncertain, is looking for love in all the wrong places. There are lots of kidnappings, robots who turn themselves off in order to avoid existence, and everyone wants money. But lovers play little touching games and say things to hurt each other. Greek Tragedy meets Looney tunes in a romance novel made For God. A must-read for anyone interested in the new fiction."-Christine Wertheim (author of mUtter-bAbel, Counterpath Press) Todd Collins was born in Rhinebeck, New York. He lives in Los Angeles, California.

For God

Collins, Todd

Contemporary

Yunhee Min

Min, Yunhee

The Parkfield Review #3: 2012 - 2013 In the summer of 2010, we decided to curate an experiment in group dynamics: we invited a few artists with ostensibly little in common, other than our acquaintance, to spend a weekend with us in Parkfield. - David Richards We have begun imagining a new world during our trips to Parkfield, a world where art is conversation and making, a world that is removed from, yet still engaged with, the city and its communities of artists. We are planting this world in the soil of a cattle ranch, in Parkfield. - Geoff Tuck Artists: Dewey Ambrosino, Joshua Aster, Josh Atlas, Jared Baxter, David Bell, Andras Blazsek, Andrea Bowers, John Burtle, Kristin Calabreese, Young Chung, Eduardo Consuegra, Vanessa Conte, Robert Crouch, Dominique Drozdz, Adam Feldmuth, Tara Foley, Jack Heard, Micol Hebron, Marcus Herse, EJ Hill, Jonathon Hornedo, Ian James, Kelly Kleinschrodt, Chris Lipomi, Kristi Lippire, Karen Lofgren, Ben Love, Ari Marcantonio, Jamie McKnight, Yann Novak, Chris Oliveria, Carl Pomposelli, Gala Porras-Kim, Max Schwartz, Leah Shirley, Bobbi Woods, and Matt Wardell.

The Parkfield Review #3: 2012 - 2013

Review, Parkfield

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