# Seth Rich/JFK Mortality Probability Calculator

Richard Charnin
May 20, 2017 (updated 6/12/17)

It’s not just about Seth Rich. Applied Mathematics indicates a virtual 100% probability of a cover-up.

There were n=6 suspicious deaths in T=5 weeks (0.10 years). Mortality rate R=0.0002. Assuming a random group of N individuals, the probability that it was just a coincidence is
N Probability
500  1 in 900 trillion
1000 1 in 14 trillion
3000 1 in 20 billion
30000 1 in 32000

There were 7 suspicious deaths (assumed to be homicides) in 3 months. The probability is virtually ZERO it is a coincidence given so many suspicious deaths in such a short period of time. How many DNC voter data admins were there? How many…

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# Matt’s Blog: My Next Project

I’ve figured out what I’m doing next. There’s a story about how I figured this out, but I’ll save that for the end of this. I’m going to become the CEO of The Wildflower Foundation. Wildflower scho…

Source: My Next Project

# Academia as a Feminist Developer

What’s it like to be a forward facing feminist in the sciences in academia?

Here’s a brief story about my experiences of the last six years at NYU, Hogeschool Kunst de Utrecht and Goldsmiths, University of London.

For five years I worked at NYU Tandon School of Engineering. During that time, the department and school changed quite a bit. My boss, Carl Skelton, quit in a political upheaval and a friend, Luke Dubios took his job. The school changed names three times. An entirely new Games department arose (now NYU Game Center) and we moved into a multi-million dollar state of the art facility named Magnet (the Media and Games Network). NYU however, is horribly cheap. It pays many of the staff ridiculously low salaries. Originally, I was recruited to teach web development but at the time did not have a Masters degree. While I was there, I managed to accomplish that. The entire time I was working there I was an adjunct. It was willingly at first as I kept my six figure senior job in advertising and then unwillingly as I later developed a stronger and stronger desire to do research in HCI and Games.

During this time as much as NYU changed, I changed. My interest in games grew and blossomed. I opened a games studio called Dozen Eyes and founded an organization to teach women to program games for free, Code Liberation Foundation, which enjoys a good deal of popularly, international acclaim and has reached thousands of women. My research interests expanded and with them I helped my former student, Caroline Sinders, start a conference called Facets. It promotes cross pollination between STEM and art and features under represented voices.

This whole time my friend Luke never did anything but fund and support me. He did something very, very rare I have come to find out. He listened to what I had to say, empowered me to make change and funded me in the process. As a result of his attitude towards women, people of all abilities and people of color in tech, our department at NYU is now home to Different Games, Code Liberation, Facets, The Ability Lab and a score of other top tier research projects promoting diversity and ability. Additionally, he accepted every single woman I referred and gave them full funding. These women have gone on to be exceptional and include Nina Freeman and Catt Small.

Luke did this because he wanted change and I was a useful vector through which that change could unfold. He also supported a whole host of talented activists and change creators who were also teaching such as Sarah Schoemann, Laine Nooney, Beth Rosenberg and Holly Cohen.

Every time someone like me came to him with an idea from a population that needed support he stepped back and he listened. Then he found a way to write a check and gave us space using NYU’s resources even though he could not hire us. Luke Dubois runs NYU Integrated Digital Media at NYU Tandon like Bernie Sanders interacts with Black Lives Matter. He radically supports and empowers change from diverse populations. He’s using Magnet like Robin Hood and he’s proving to NYU he can make money and support positive change concurrently — that in fact, these two things go hand in hand.

While at Magnet I enjoyed a position of being a beloved instructor. As it turned out, I surprised myself and found I had a gift for teaching programming. Eventually though when I wanted to go full time, there were no open positions. In fact, they have not done a single full time hire for a lecturer since I quit my advertising job. Even though I was popular, well liked, nationally recognized in my field and a recruiting tool for the school, it looked like if I wanted to continue up the food chain I’d need a PhD. This was not something Luke could help me with. NYU didn’t have a PhD in games, creative computing, HCI or anything even remotely approaching my field. As a result, I started looking for new opportunities.

To my shock and surprise, it turned out I was supremely hirable. The climate changed while I was at NYU. My skills, which include professional rebel rousing, hacking, DIY engineering, game development, HCI, design and creative programming, all at a senior level, were now meaningful as an onslaught of programs have begun to incorporate these skills into more traditional Computer Science departments to keep up with trends. Also, I’ve got a host of publications in fields like Digital Media Curation, Machine Learning, HCI and Smart Cities from projects I’ve generated during the last years from a nice array of respectable conferences. Somehow along the way I also co-authored a book and wrote about machine learning for games and creative performance while contributing to some open source projects like Open Frameworks. You bookend this with the my silicon valley experience and somehow I look like a legitimate computer scientist, although that was never all together my aim. It’s just that life stacks up on one over time I guess and who you are unfurls. I always thought I was an artist. Meanwhile, I became an accidental scientist.

Getting a permanent academic posting that would support my PhD as well was relatively easy and I did it not once but twice. The first time around I was the only woman the department, which had been around for 25 years, hired to teach programming. It was not an easy job. I loved my students but I’d never been on an all male team and suddenly, I went from a city where I’d knew everyone to a city where I knew no one. Also, my boss was not like Luke. He had little interest in really empowering social change and was happy to just do his job without being a vanguard. I get that. Not everyone can spend the weekend in William Burroughs’ house archiving his library or making visualizations out of bullets in New Orleans galleries. Not everyone can be Luke Dubois. I got the feeling he would never empower me to grow and I’d simply be biding my time until something new emerged in my life. Additionally, there was a solid bro club in our games department and there was never going to be a way around it for me. I’d always be an outsider – the token female face that they trotted out for investors and on recruiting day.

Then an opportunity opened up at Goldsmiths, University of London in the department where my friend and long time collaborator Rebecca Fiebrinkwas working. Additionally, a few years back I’d met Mick Grierson and, like Luke we were the same age and like minded rebels never content with how things might be. Mick, like Luke, is tireless. A researcher in computer science with a nearly endless array of interests and publications, he also somehow is an accidental scientist who started off as and remains an artist. I thought to myself, “Here’s someone that can push me to the next phase of my life.” I applied and in some twist of amazingly odd fate got a highly competitive job.

Originally they offered to me, maybe even accidentally, a games job, which I flat out refused as we’d discussed a job in Physical Computing. The idea was I did not want to teach games. Post gamergate, I’m exceptionally disillusioned with what is obvious sexism all over the field. While I make games, I sure as heck do not want to teach them in an all male games department, which is what was going on with Goldsmiths’ IGGI program when I applied. I refuse to be a token women game dev again. I have no interest in taking a less than leadership role in an all male department. The only way to change and break up that kind of boys club is from the top down. There’s no bottom up fix as I learned at my last job. Goldsmiths heard me and gave me the physical computing job and I moved to London.

That said, there has been interest from the department in supporting a UK version of Code Liberation. To do it, I have to have students who can help me teach and develop the organization here. Ideally, I like to train women to teach and mentor other women who have an interest in cultivating our field into a better, healthier environment. As a result, I referred two exceptionally talented and accomplished young women to our games PhD program who had the right make up to be CLF members. It’s not something I’d suggest for just anyone. They were both rejected. I guess I should not be surprised. Their experience looks nothing like what a man in games might expect. It’s variegated, diverse and non-linear. It has to be.

Additionally, the lab they said would be mine has been contentious. What I am facing is that Goldsmiths really wants change but they might be afraid to hand the reins over to a powerful, punk rock 40 something genX (American) woman who looks them in the eye and says, “Trust me on this one. I know what I am doing.” To be fair, I’m not exactly a soft, gentle soul. I’m highly energetic, passionate and dedicated activist. I am sometimes brash if I feel strongly something is horribly unfair. I’ve got a relentless drive. Things that would break most people seem to be like fuel to me. I guess that’s because if I took what I was given, I’d be still living in poverty, partially disabled and under educated in a trailer in the south. I’ve heard this trait called resilience as of late. It’s one I have in spades.

We will see how it goes at Goldsmiths for me. The story is yet unwritten and unfolding. We’ll see how risk adverse they are. Given they hired Mick, who seems every bit as adventurous as myself and maybe even then some, I can only think it will eventually, after the bumps, I’ll settle in nicely. We’re even trying to set up an exchange program with NYU and Luke. I have hope.

So here’s my point.

Are you an ally and do you want change? Are you in an academic or corporate space in a position of power? Then do this. Listen. Take risks on people like myself who don’t come from your background or from privilege.

When we tell you how we want to help our communities, don’t intercede, mediate or try and control us. Simply empower us. You don’t know what’s best even though your privilege and position might lead you to think you do. If you need a case in point, see how successful Luke’s department at NYU is becoming as a result of this strategy.

Change isn’t demur. Change isn’t soft. Change does not make you comfortable with yourself.

Change does not come in a package you will recognize as familiar.

Change makes something new.

Change is scary.

In the end though, if you’re open to it, change will make you healthier and stronger.

Take the risk.

This posting is dedicated to Greg Deocampo who asked me to write it.

# LISTE Art Basel celebrates 20 years

LISTE 2015 represents the grand finale of the gallery season before summer closure. It is the place to discover (the underexposed) emerging talent of tomorrow. A satellite to Art Basel, it used to be called “The Young Art Fair in Basel”, but it has since grown up and changed its name and so has the art on view. It celebrates its 20th anniversary this year. If you have any doubts about the significance of LISTE, you only need to look at the founding first committee (composed on now powerhouse galleries Peter Bläuer, Eva Presenhuber, Maureen Paley, Tim Neuger, Emi Fontana, Peter Kilchmann, Anne de Villepoix).

Located in the historic Warteck building a former Swiss brewery, LISTE is practically a labyrinth requiring time to navigate. Inevitably during Basel someone will mention a LISTE gallery that you missed. The fairgoers move between stalwart supporters and newcomers. There were 13 new entries presenting this year including CLEARING with a stunning solo booth of Calvin Marcus. This site-specific installation inside a blacken gallery is named after the coordinates for the fair; but represent surrogate self-portraits of the artist as a young building. Glowing in neon purples and greens (his signature color) the installation is haunting and nuanced.

Fairgoers move between stalwarts and new comers; there are 13 new entries presenting this year including CLEARING with a stunning solo booth of Calvin Marcus. This site-specific installation inside a blacken gallery is named after the coordinates for the fair; but represent surrogate self-portraits of the artist as a young building. Glowing in neon purples and greens (his signature color) the installation is haunting. The work looks slick in photos but in life it is much more structured.

New comers to the fair this year have already made waves at many of the international fairs over the last 8 months, some are recognizable names: at the front entrance on the ground floor is the easy to find white-hot Essex Street gallery showing Chadwick Rantanen. While the venerable Lower East Side gallery Simone Subal is showing an installation collaboration between artists partners Anna K.E. and Florian Meisenberg.

The basement has many surprises including the stunning booth of Project Native Informant showing DIS, GCC, Shanzhai Biennial. The later two had PS 1 MoMA shows while DIS, a central figure in the New Museum Triennial will curate the Berlin Biennale.

On the ground floor Arcadia Missa carefully curates a show of three women artist all born in the 80’s with practices that inform and juxtapose each other. Jesse Darling’s work is a heartbreaking return to materialism, recalling Eva Hesse and other great materialists. Another great London gallery, Limoncello is worth finding on the ground floor.

Above on the first floor Carlos/ Ishikawa, another young London gallery, is showing Korakrit Arunanondchai who will have a solo exhibition at the Palis de Tokyo this summer. One of the only African galleries on show, Blank Gallery from South Africa showed five new tapestries by Igshaan Adams which references Kufic square calligraphy. Tucked in a darkened room on the first floor is Antenna Space showing video and sculpture by Honglei Yu, full of “post-internet”Je ne sais quoi. Crevecoeur is showing the beautiful new evolution of Renaud Jerez sculptures that have evolved out of the work he showed in the New Museum triennial.

Going up the green staircase in front to the second floor the first gallery to find is Dependance one of Brussels hottest spots. Mor Charpentier was showing a fantastic presentation of four artists including Carlos Motta the Colombian artist who shared the Future Generation Art Prize this year.

This third floor is packed with gems. Huber is showing a new series of Vector Weaves by Travess Smalley, they completely open up the field of painting.

The final climb to the top is rewarding; at 47 Canal a dual booth of Stewart Uoo and Anicka Yi. “We are in the penthouse”joked galleriest Oliver Newton, both artists (along with eight other key artists in their program) they had given their first shows to. Marget Lee an artist herself and visionary founder of 47 Canal (partner of Newton) said “We make up the Korean trifecta” referring to herself, Uoo and Yi. Uoo’ work in on display at the ICA London, while Yi has simultaneously mounted the exhibition 6,070,430K of Digital Spit, List Visual Arts Center at MIT while having a massive acclaimed show at the Kunsthalle Basel. It would be impossible to miss Yi’s work while at Basel as everyone goes to the Kunsthalle at night to party and drink.

And how best to finish off the day after perusing through the gallery booths? Take the advice from Takashi Murakami: get a cold beer, a bratwürst, and raise a toast to this new generation of artists.

# The Final Interview: Max Schumann Executive Director of Printed Matter, Inc.

The Final Interview

Max Schumann Executive Director of Printed Matter, by Justin Polera

JP- I heard a lot of things about how PM started and who was the first person who started it- at least with from what Martha Wilson was saying- there was a moment when it was in the fine arts building. Could you clarify a little bit of that story? How did it begin?

M-And I also just got an email from Pat Steir where she puts her stamp on it.

JP-I did and Mimi Wheeler apparently said that Pat Steir wasn’t part of the original, Pat Steir says that it was her entire idea. So I thought I would ask you.

M-People have different memories it was a long time ago. So we’ll see what we flush out. The thing is I think that it all attests to the need for an organization to be formed because of this identifiable activity of artist publishing and artist book publishing in making and the need to represent it. In the exhibition I don’t know if you saw there’s actually a letter of solicitation that predates the name  where its dated 1975 and it says please send either both your existing artist books samples as well as artist books you would like to see published too.  It says “Books” care of 529 Bleeker street and it’s signed by only a portion of ’s founders. I’m pretty sure that Sol, Lucy and Pat were all on that letter and Mimi but I’m not positive but it’s there at the show. So that was really interesting. Then likewise regarding the Hudson street there is then a press release there are several different Franklin Street letterheads documents from 1976 that and one of them is at 112 franklin street and then also. It was what would become Franklin Furnace and also Martha would need to clarify this for you.  I think that building that franklin was bunch of artists residents in there and there was a different interest in what that got the boot and Franklin Furnace got the ok or something like that

JP-The land owner wasn’t ok with being.

M-There was also a letter announcing a move from Franklin Furnace to 105 Hudson Street. It might to been as brief as several weeks no one seems to remember the group and it was called “working group” and it was a cooperative was briefly at one point Franklin street and there’s a note book that I don’t think is in the show but its in the archives of the very earliest and its not even board meetings cause it didn’t exist it is from 1976 they were weekly meetings where other people who were in that group was definitely be Mimi Wheeler, Lucy Lippard, Pat Steir I think was in some of them. If even additional people like maybe Peter Downsbrough who would later work as an employee of  but they were like super frequent they were happening every other day were people would hash out what this would be.

JP-What are some of the unrealized projects that you know of? What they wanted to do or that you’ve always wanted to make happen but remain unfinished?

M-The big unrealized project is the finishing of our new website which we want to turn into a much more versatile and informative resource for artist books so there’s different kind of stages of development we’ve been on the new website for a year.

JP-Will the books get digitalized?

M-There’s a lot of content work that needs to be done and so already as we are recording things going forward as we are doing multiple interior shots and stuff like that but it’s also like for example like what was started with AA which was commissioned thematic essays on various aspects of artist book and artist publishing activity is something we really want to continue as a educational resource.

JP-Will it be something a kin to Ubu.com?

M-It would just be to enrich the archive as an educational research both from our historical organizational history standpoint so more than actual archive like including say slides of all the window installations that we’ve done in the 1970s and 80s but also so past and present and then going forward so included in that would be community bulletin boards much more developed resources to help people in publishing projects and connect other institutions/organizations businesses that deal with different aspects of artist books as well as links to different digital projects so say internet publishing and other kind of things.

JP-Will the site also link to Franklin Furnace?

M-Yeah absolutely that’s the thing is just creating much more mature and diversified online resource

JP-That’s exciting

M-That stuff is slowly of in the works but we need to fix what we have and then there’s a lot of further development.

JP-The history of artist publishing is quite interesting in how it relates to ideas of resistance and the real center is publishing in the 60s and 70s were outside of mainstream cities like eastern Europe, Japan and South America. In some cases the very fact of publishing was radical and dangerous so what had happened with the ideas of political radically now from the days when south American artist could be imprisoned?

M- I mean that’s the thing what are the remaining independent economies Cuba is just about to turn over Iran, and Syria is on it’s way to be completely destroyed, maybe Russia and China.

JP-But in term in artist books?

untitledprojectsprintedmatter.tumblr.com

M- We have to find out what the new publishing practices are. What are the possibilities of artist books as a tool of decent as a vehicle of decent? I think in a way that’s where we need to educate ourselves about different online practices of political artists who want to have as much distribution as possible. Printing is not the most economical way to reach larger numbers of people. When Ben Davis spoke to the reading library in Zuccotti Park during Occupy Wall Street, I feel like again, this is a different hybrid form of publishing where the community-the real social physical community needed for artist books production and distribution is a really important other aspect of policialltly minded projects. On the one hand, digital is the way to get to a broader farther outreach but the exchange and interaction that is fostered in the production of artist books as collaborative projects and with a industrial aspect of production and then getting it out into the world between actual physical exchange of objects and stuff like creates more meaningful social bonds of communities. Physical books are not more or less important, rather they are a part of the bigger picture, virtual space and activism that it doesn’t displace or replace the need for physical communities as well.

JP- Along those lines what is the most widely distributed artist books which one has reached the most people of physically printed books

MYoko Ono Grapefruit maybe? that has been done in multiple commercial editions in the 10s of thousands. So that could be one of them.

JP-And you’ve printed it as well?

M- No but that’s an example of an artist book.

JP-But you do carry it?

M-We’ve carried it in the past. The largest circulation of the books we have published is two field guides, actually. Kim Beck’s A Field Guide to Weeds which is a really beautiful visual book that we’ve done in 3 editions now and as a beautiful aesthetic object has an appeal even beyond the art world. That has been very successful and reached audiences outside the art world. Mark Dion’s High Line: A Field Guide and Handbook we are running out of the first edition of 5000 sold out in little over a year.  The book by Phil Aarons, Non Stop Poetry, The Zines of Mark Gonzales was probably the fastest selling book we’ve ever done an edition of 2000 is basically sold out in less than half of a year.

Kim Beck’s A Field Guide To Weeds

JP-And all through this store?

M- Yeah we distributed so those are some examples of widely distributed books but again relatively to commercial publishing is we’re still talking small numbers as commercial publishing goes in10s and 100s of thousands.

JP-Can you talk a little bit about Ray Johnson, not in particular, but mail art more broadly and the so called correspondence school and maybe General Idea’s File magazine how that has influenced the vision of the early founders.

M-I don’t know what influence it has, the thing is that mail art, the interest of mail art people are really similar to the interest of artist book publishing as an ephemeral form it has information to the circulated not intended for museum and institutional market or otherwise kind of consumption. It is meant to reach people outside of those institutions in the contexts of lived everyday lives-  the ephemeral and ubiquitous nature of both books or mail lends itself to having your experience of the work via within you’re lived context. So they share in that. Whether it’s Ray Johnson’s book about death that was conceived as a book but it was never bond and done as a mail art project where different pages even though it had a distinct structure and sequence of 13-15 pages was a mail art a book that a conceptual book it was never actually existed as a book, it existed as various pages that then were dispersed to different people over a 3 year period in 1963-65 so there are these overlaps and interfaces with artist books.

JP- Can you talk about some iconic window installations exhibitions in the early days?

M-Well Lucy put together the window installations, the first ones were in 1979 and ran for a full decade from 1979 to 89 and that was before my time I actually did a window installation to the very end of that. Before I started working here at Lisbon Street. But that was such a fascinating thing it was a mix of mostly theme specific kind of activists or art that have engaged in public issues; political and social issues a broad range of topics: urban issues, gentrification, police brutality and violence.

JP-Who were some of the artists ?

M-Well that’s the interesting thing it included both early career exhibitions with people like Richard Prince, Barbara Kruger, Jenny Holzer.

Jenny Holzer, from Truisms (1977-79), posters installed in windows of Printed Matter, New York, ©2011 Jenny Holzer

JP-Before they were stars?

M-Yeah 78, 79 and 80/81 Felix Gonzalez-Torres artist who would become so important as well as these other artists who people have never heard of San Francisco Poster Brigade did these agitprop political posters or Rachel Romero, I have no idea who she is she did an amazing window. Seth Tobocman who was a lower east side radical comic artist who was involved in the World War 3 collective its interesting to see some of these The Pictures Generation artists mixed in with these more activist kind of things and it kind of contextualizes them in a political light that there work was happening in this political and motivated.

by San Francisco Poster Brigade, Rachael Romero San Francisco, California, United States 1978

JP-Unlike the window installations the store inventory wasn’t as tightly curated?

M-Well there’s different levels of selection policy in the beginning and as part of the application for the non-profit status there is a strong emphasis on the absolute inclusivity of anything that was identified as an artist book. In the exhibition you’ll see different internal debates about what the parameter should be or criteria should be for the selection of books eventually it became impossible to include everyone because there was too much out there it was also a process. In order to make room for the new publications, old publications would also have to be discontinued. So these were these agonizing internal debates and stuff like that and then there’s also do we include fine artist books and do we include limited editions and what about editions in multiplies and non-book publications.

JP-What was the role of the executive to make those kind of selections decisions?

I think it was something that was and there was memos too from directors to the board, the board was involved and some other discussions as well and there was like internal staff discussions as well regarding those things

JP- A more recent book you have published is Tauba Auerbach’s [2 , 3] there seems to be a return to early radical abstraction which makes me think of Helio Oiticica or Lygia Clark – do you see a return to abstraction or what does that mean in a movement in artist books?

M-I see there’s this new generation of minimalist and abstractionists that is one of many many different art communities happening. I think there’s some kind of market sanctioning of that phenomena; but there’s always been abstraction. So when we have the next return to figuration or figurative painting or something like that  its not going to be return it’s just going to be a legitimation by market forces. The market makes these works more visible then it always goes on. But it’s interesting actually if you look at the scope of the books that published in 1976-1978 it actually is a really diverse group of styles and types there’s a purely graphic book by Ellen Lanyon of free hand drawings there’s found photography by Michelle Stuart which is Stereopticon photos of waterfalls and the western landscape and stuff like that there’s the Martha Rosler, Service, which is basically a mail art project put into a book form there’s John Gibson’s melody which is actually a musical score like a score, a score piece there’s snapshots which is a photo based book as well as Eve Sonneman’s book Real Time which is photo based and then there’s the Gruella Art Action Group GAAG, performance documentation so even though you look at the books at the covers of them oh those old 70s things you open then up and there’s actually this kind of diverse selection of stylistic content and other approaches.

JP-I know you’ve touched on this already especially you spoke on the early vision of Lucy and other founders being able to create an alternative economy to distribute artist books in airports, train stations, magazine stands and grocery stores did anything come of that vision? And what happened to it now?

M-I think it’s the dream idea (laughing) that still needs to be what our mission is about is striving for and we’re not there yet. Printed Matter is a non-profit because we can’t sustain ourselves through sales, I think when you look at the success of attendance of the New York and LA Art Book fairs that vision is almost probable because you see such a resurgence even in the context of struggling mainstream publishing in a state of crisis and yet you have this huge resurgence of activity on the part of artists and other creative makers and publishers coupled with this very heightened public interest as well.  For the most part publishers in those scenarios is a labor of love and things are supporting peoples livelihood but there are some examples in there of people who are kind of figuring out sustainable economic models to produce their books.

Zine World at the Los Angeles Art Book Fair at The Geffen Contemporary at MOCA.

JP-At least what they could self support.

M-Yeah, like the Art Fairs provide this kind of expanded audience which reaches outside of the art world and that’s very much keeping with Lucy’s vision of an art engagement that happens outside of the art world in an expanded audience and population I think we’re not there but it’s getting close, the fight still worth it.

JP-One of the most critical roles of could be said to be the executive director and some say the organization survives thanks to the vision of some directors can you talk about maybe a past director a couple of them and how you stack up?

M-How I stack up to the other directors? I’ve worked with John Goodwin, David Dean, David Platzker, AA Bronson and James Jenkin –so five directors and each one of them brought something very important to the organization so John engineered the relationship with Dia and the move from Tribeca.

JP-That was the move from Michael Govan?

M-No at that time who was the director at the time I think it was Charley Ray in 1989 s amazing space gallery large gallery size space in the middle of soho when that was indeed the center of the art world I mean coupled with that the other side of the story is that because our association with idea or as a publics misperception with idea even though they were supporting us via subsided reduced market rent under market rate and stuff like that is that public perception we were Dia’s book store which that became really difficult for fundraising and other kinds of basically fundraising. David Dean was there for 5 years and basically he put together some really some internal important strategies and business practice models and stuff that were probably never realized but identified. Basically our history is one of financial struggle and survival is we’ve been from going back to Lisbon Art days it has been an incredible challenge to keep the doors open and pay the bills and stuff like and that during the 1990s through the course of John Goodwin through AA Bronson’s and James Jenkins directorships is the financial struggle reached crisis proportions where we really keeping the doors open was a question mark entering big amounts of times and there were times especially under David Platzker they valiantly were able to bring us back into a balanced budget situation only to see it slip and slide away so it really is the ongoing core of our history and is the challenge of making it a sustainable organization

JP-Where you are in terms of expensive NYC real estate. AA Bronson said that file magazine was kind of a manifesto at least in the glamour issue based on Roland Barthes final essay on mythologies and it was based around utopias what are some of the manifestos that are left in artist books today and what happened to utopias?

M-Well the utopians have a saying is what still is keep the torch lit and keep the dream alive. But as far as the manifestos that’s a good question I know that Amanda Season Keeley installation project EXILE Books project which is a nomadic bookstore that is traveling around greater Miami and that Printed Matter is a partner in…

JP-So it’s a mobile home book store?

M-No. it’s a curated bookstore, artist books store that she has been taking to different venues. Its been in a commercial gallery it’s been in a non-profit alternative art space I think it’s slated to be in one of the museums it’s going to be in a community center so it’s really interesting the way it was in a commercial independent book store so she finds a host and then moves it from one spot to the next in one of them she did a little installation of manifestos and I was really curious cause I don’t know what the contemporary manifesto tradition is. When you were talking politically radical art and stuff like that I think that there’s a great need for contemporary manifesto making that  a book is a perfect way to convey and transmit that so hopefully instructive or more or a good reference for that is the Gorilla Art Action Group book where the different communicates and letters they put out were and/or manifestos that I think should be revisited in our current time.

JP-For an alternative non profit space that’s so critical to you it’s also a nice irony that you also have one of the most exciting commercial fairs.

Zine Tent, NY Art Book Fair, 2011

M-It’s actually not a commercial fair– it’s a project or program of Printed Matter and we are a non-profit. The fair we structured around it’s ability to economically be inclusive and provide a super-diverse range of publishers including completely independent individual artist publishers or artists collect the publishers, in the Zine Tent for example and we’re able to keep that those affordable to get that kind of inclusion and diversity. It’s also trying to find people who are really to find that diversity and fit curatorial thing but we are looking for its not just artist books its an expanded art book but

-Justin Polera

# Further Thoughts on Sprayed at Gagosian, Britannia Street London

## Sprayed

WORKS FROM 1929 TO 2015
JUNE 11 – AUGUST 1, 2015

6-24 Britannia Street
London

The first impression when entering the gallery is of a cornucopia of deliciousness. Everywhere there seem to be great paintings, vibrant, recognisable and full of energy. However as I wandered around looking at one great thing after another, marvelling at the talent, the chutzpah, not to mention the sheer sass of unabashed self projection I noticed I was being overwhelmed by feelings of exhaustion and ennui.

Sprayed at Gagosian

At first I wondered if it was envy, or resentment of other’s talent, or just jealousy about being excluded from the pantheon of greatness. It may be all those things but there was something else too. I couldn’t work out how the individual works which seemed engaging when viewed directly became something else altogether en masse.

My mind kept playing across the title of the show and I had two recurring and associative thoughts. Sprayed became spayed which in turn made me think about dogs and cats marking their territory. Those two thoughts felt like a weight lifted, an insight that revealed the narrative of my exhaustion. In this new perspective I could see that the work was a trojan horse. Instead of being the point of the show they were the servants of an agenda that subjugated the otherness of the artists included to an ambition that was as conventional as it was atavistic.

The transformative power that the work promised was instead neutered by a towering and omnipotent compulsion to mark territory and claim omnipotence. This is the real content of the show and the unconscious narrative that overwhelms all the work. Perhaps this is the appeal to the high net worth individuals who are the galleries patrons, a kind of endorsement of their power over the otherness and disavowal of normative values that creativity represents.

Simon Linke is an artist living in London.

Amsterdam