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Anteism is a Canadian publisher working with galleries and artists to produce unique art books. Our blog showcases the books we produce and the artist books we love!

Swoon's Swimming Cities of Switchback Sea

In the early evening on Sunday, September 7th, seven hand made boats, or more precisely, seven floating sculptures by Swoon,  docked in front of Deitch Studios on the East River in Long Island City. Their arrival at Deitch Studios was the final stop on a three-week journey down the Hudson River and around the tip of Manhattan. The seven boats, built by Swoon and her friends from scrap wood and other discarded materials, begin their sail down the Hudson River on August 15th in Troy, New York, stopping along the way for musical and theatrical performances. Swimming Cities of Switchback Sea is a two-part exhibition merging Swoon’s recent portraits, found objects of urban decay and a floating sculptural city. One part of the exhibition is on the water. The other is in the gallery. As the seven boats dock in front of Deitch Studios, they will be tethered by ropes to the skirts of a twenty-five foot high paper sculpture of two sisters embracing, the central image of the indoor portion of the show. The image of the Switchback Sisters came to Swoon in a dream when she was worried about the rising waters when her first set of boats was floating down the Mississippi River two years ago. She envisioned a woman who would gather the boats into a safe haven under her skirts.

Swoon’s indoor installation, in the large cathedral like space of Deitch Studios, is divided into two levels, above and below an imaginary flood line. She imagines that if the water of the East River were to rise, her boats could float into the shelter of the gallery space. The imagery on the walls is drawn from the sea and from the mangrove swamps that the artist explored in her Florida youth. She is inspired by the way the trees in the mangrove swamps send out huge networks of roots, both below and above the water, creating two parallel ecosystems. Above the imaginary waterline, Swoon has created the image of a city rising from the sea. The parallel narratives of the exhibition represent a convergence of her life on the river and her life as a street artist in New York City.

Swimming Cities of Switchback Sea is the result of a year of design and construction and the combined efforts of seventy- five collaborators, working under Swoon’s direction. A crew of forty people will sail the seven boats down the Hudson. During the summer of 2006, Swoon and the Miss Rockaway Armada launched a similar project on the Mississippi River. For this year’s project, Swoon designed and supervised the construction of all the boats herself and will culminate the journey with an ambitious exhibition of her large wooden and paper constructions and her large-scale prints.

Swoon celebrates with a bottle of champagne

Swoon is recognized as one of the most original street artists to emerge in New York during the past decade. Her imagery is both bold and intricate, a unique fusion of figurative and architectural elements. She creates portraits of people who she meets on her travels and inserts them into architectural settings both on the street and more recently in galleries. In her gallery installations, Swoon is able to build her own artistic world, inventing a landscape that intersects with urban decay. Inspired by German Expressionist prints, Indonesian shadow puppets, and dense Asian cityscapes, she uses cut paper to create conceptual explorations of the urban street.

Swoon’s collaborators on Swimming Cities of Switchback Sea include playwright Lisa D’Amour, circus composer Sxip Shirey, Kinetic Steam Works from San Francisco and the band Dark Dark Dark. Performances will take place as the boats dock during their journey down the Hudson River in August and in front of Deitch Studios during the second week of September.

Please see the website www.switchbacksea.org for tour dates and additional information.

The Horror aka Daniel Cantrell

The Horror is the alias of Daniel Cantrell. Daniel Cantrell was born in Gubabubbahubba, a small town in the north of England. He began drawing at a young age but he has never improved. He has a Degree and a Masters in subjects too boring to even write. His pictures are done with simple pen on card. His drawings are usually about acceptance, violence, lust, fate and the dangers of dental hygiene. The characters are usually smiling which could mean either life is horror so all you can do is smile or people just grin and bear any hell they are given. He is not sure which one yet. He likes GOOD PUNK ROCK MUSIC.

Daniel is currently putting together a zine based on the theme of Man vs. Mescaline. Submissions should be 300dpi/Greyscale and sized for European A5 paper. For info about the  vs. zine series and submissions contact Daniel.

Elmonstruodecoloresnotieneboca ?

I just received a cool little accordian fold out book in the mail. I didn't know who or where it came from. The text seems to be in German and Spanish with a few english tid-bits here and there. The illustrations were great so I continued to look through for clues as to what it was about. After going through the whole booklet I found that it was illustrated by Till Thomas. The illustrations were based on the written dreams of children in Berlin which had been collected by Roger Omar. The booklet was entitled God's Birthday. Here are some of the dreams recorded.

• SpongeBob came to my house and behaved like a savage. (Pelrick / 8 Years Old)

• I dreamed I was the godfather. I robbed a bank, took Nazis as hostages and then woke up. I almost forgot... I had a Lamborghini. (Nikita / 8 Years Old)

There was a website listed in the book. Elmonstruodecoloresnotieneboca.com

The website seems to be a interesting project where you can post your dreams.

una campaña que promueve la escritura (y registro en cualquier lenguaje) de sueños en el mundo. - a campaign that promotes the writing (and recording in any language) in the world of dreams.

There is also a Flickr pagewith illustrated dreams

Canadian Renaissance Project

I recently stumbled across an interesting article about the identity of Canadians and the status of the arts here. It states that Canadians don't seem to have a proper identity?? Is this true? After living in Asia for a few years I did notice something strange from other foreign people living in Asia. When they asked me where I was from I said Canada. They continued by saying where are you really from? I think Canada is one of the very few places we have got past the identity of imaginary lines. There are plenty of problems here but Canada may be one of the first places where national identity may disappear. The cup is half full and empty.

The Canadian Renaissance Project aims to strengthen the art community in Canada and I believe it has some very valid points. Whether or not it's possible to implement is another subject. Visit the site Canadian Renaissance Project.

Read The Statement Below Then Click Here to Find Out How You Can Be Involved

It is almost a cliche to say that Canadians have an identity problem, no one, not even Canadians can seem to define exactly what it means to be a Canadian. In spite of this, the Canadian voice is unique in the world. Perhaps this is because, in a world where the environment is in crisis, it is a vast country where nearly everyone is close to nature almost all the time. Perhaps it is because of multiculturalism. In the rest of the world ethnic and religious tension are spiraling out of control. In Canada, the world's most multi-cultural country a wide variety of social, ethnic, and religious groups manage to live together relatively peacefully and cooperatively. Whatever it is, it is a voice that resonates the world over. Whatever else people know about Canada (it is sometimes very little, and often wrong) they know Canadian art, music, literature, actors, directors and other artists.

There is also no question that arts and culture are a vital part of the Canadian identity (whatever it is). The arts are both a part of industry and part of the daily quality of life of Canadians. According to the Canada Council for the Arts: 75 percent of Canadians believe that the arts are important in enhancing the quality of their lives and 85 percent aggree that governments should provide support for arts and culture. Further, according to Statitstics Canada, the 7.7 billion dollar government investment in culture generates 40 billion dollars in economic activity and creates 600,000 jobs. The importance of arts and culture for tourism, as an example, goes without saying.

With all of this said, the social and economic status of the artist in Canada in no way reflects the importance of their contributions to society. In 1995, Parliament implemented the 'Status of the Artist Act' which, through a heavily bureaucratized process, allowed certain tax deductions, under certain circumstances for certain artists. According to the Canadian Journal of Communication there were "670,000 people working in the arts and culture, representing six times as many employed in fisheries and three times greater than in the forestry industry." But, the article points out, "In 1991, self employed painters and artists earned an average of $11,947; artisans and craftspeople $10,020; musicians and singers, $14,473; dancers, 13,757; actors, $21,800; broadcast composers, and arragners $26.201."

So with nearly 10 years since the "Status of the Artist Act" have things improved substantially for Canadian artists? It wouldn't appear so. According to a study published in 2004 the number of Canadian artists had risen by 29%, but they were still making less than people in other professions. Another study in 2005 determined that a Canadian artist earns on average $23,500 and minority artists even less. This average is also inflated by highly successful Canadian actors, producers and recording artists as well as artists employed full time by arts and media companies. This would indicate that a large number of artists earn substantially less than that average.

It is little wonder that many of the most successful Canadian artists and performers have sought larger markets, and higher incomes, in the United States and Europe. The goal of the following proposals is to lessen this trend, not by making artists wealthy, but to offer them the ability to stay to stay in Canada, earn a stable income and enjoy a standard of living comparable to other highly skilled professionals; An income that is more reflective of their importance to Canadian society. Doctors and lawyers and business executives are undoubtedly vital to society, but they do not define that society in the way the arts do. Without definition; without understanding who we are, it is difficult to understand the past, make appropriate decisions for the present or plan the society we want to create for the future.

Part One of the plan draws it's inspiration from but does not copy the Irish system. In Ireland certain artists pay no taxes at all. This system though has two major drawbacks, the first is that those artists pay no taxes at all no matter how successful they become. Even in the case where they are making millions, they still pay no income taxes. The second problem is that the Irish put in place a government bureaucracy to decide what constitutes art. This is an area which I do not think Canadians want the government directly involved in.

What I propose as an alternative is a system where an artists profits (after expenses) which comes directly from their art, are tax exempt up to fifty thousand dollars. It should be pointed out here that the excemption would apply to artists in the broad sense, not only visual artists. This would ensure that highly successful artists payed taxes and it would enable and encourage many artists to quit their 'day jobs' and focus on their art. Since their non-art income is not tax exempt it would also provide incentives for them to focus more on earning income from their artistic pursuits.

Part Two is inspired by the new Children's Fitness Tax Credit which provides up to five-hundred dollars for health and fitness activities for children. While health and physical fitness are obviously important, the nurturing of the mind and the soul and ultimately of Canadian culture is of equal importance.

The second part of the plan would apply to both children and adults and provide a five-hundred dollar (per person) tax write off for arts and culture purchases and activities. This would include everything from music or art lessons to buying a musical instrument or art supplies. It would also include the purchase of concert or theatre tickets, and the purchase of books, music, films, and art by Canadian artists. It should be stressed here that in order to qualify for the deduction that it must fall within the guidelines of Canadian content. Purchases of non-Canadian music, books, etc., would not qualify.

This does several things at once. It encourages individuals and families to participate in more arts and culture related activities. It puts Canadian content at a premium over imported content. It provides an improved marketplace for Canadian artists to make a living in, the marketplace is not larger, but it is more lucrative. It encourages content producers to produce more Canadian content. It encourages venues to showcase more Canadian talent. It encourages retailers to carry more Canadian content. It encourages children, and adults to to an extent, to become more educated in the arts and to make arts and culture a more integrated part of their day to day lives. Finally, on a more timely and controversial note, the tax deduction would encourage Canadians to buy rather than download for free, Canadian music and movies.

The Canadian Government, like most Western governments, has many priorities to deal with. The military, business and industry, health care, infrastructure, the environment, education, culture, the arts and more all contend for precious tax dollars. All of these things are obviously, to varying degrees, important. Many of them are essential to the quality of life enjoyed by Canadians.

It is important to consider though that great societies are remembered as great not by their industry or military power, or even by the daily quality of life of their citizens. Even where these societies were particularly violent, or committed great attrocieties, they are remembered most by their art and cultural achievements. If we look back though history: The Babylonians, Egyptians, Greeks, Romans, the ancient Muslim world, ancient China and Japan, the British, Spanish, French, Germans in their glory days, and the Aboriginal cultures of North America they are remembered because of their art, architecture, literature, music, theatre and other cultural achievements. Even the great United States of America, when thought of fondly, conjures up images of Hollywood, Motown, Woodstock, Elvis, Sinatra, and Marilyn Monroe. There are some societies who achieved historical infamy without widely recognized artistic achievements. Cultures such as the Huns, Mongols, Vandals and Vikings are remembered almost purely for their brutality.

Combined these two initiatives will make being a full time artist in Canada a more realistic proposition. It is hoped that it will encourage more Canadian artists to stay in Canada, and that it might even lure some Canadian artists home from other parts of the world. In any event, it would allow more artists to give up their 'day jobs' and devote themselves full time to their art. It would enhance Canada's image abroad as a hotbed of arts, culture and creativity. It would promote and encourage tourism within Canada and from abroad and boost the travel and hospitality sectors on the whole. It would help to finally define the Canadian identity in the minds of Canadians and others and, given the amount of talent and creativity we have in this country, it would fuel an arts movement of historic proportions.

What You Can Do

Take action by signing the petition http://www.gopetition.com/online/13374.html Contacting your Member of Parliament http://crp.publicbroadcasting.ca/mp.html and adding a promotional graphic to your website (see right hand column.) Stay involved by adding the Canadian Renaissance Project MySpace http://www.myspace.com/canren and/or joining the facebook group http://www.facebook.com/profile.php?id=676355194

Graffiti Archaeology

Graffiti Archaeology Interface Graffiti Archaeology is a project devoted to the study of graffiti-covered walls as they change over time. The core of the project is a timelapse collage, made of photos of graffiti taken at the same location by many different photographers over a span of several years. The photos were taken in San Francisco, New York, Los Angeles and other cities, over a timespan from the late 1990's to the present.

Using the grafarc explorer, you can visit some classic graffiti spots, see what they looked like in the past, and explore how they have changed over the years.

The "grafarc explorer" interface which navigates the various layers of graffiti is well thought out and is a pleasure to use. Along the bottom of the site is a time-line with access points where photos have been taken. When a new date is clicked the image is loaded onto the previous wall with and orange box around the new layer.

This project reminded me of the Brian Jungen exhibition at the Vancouver Art Gallery. In one of the displays Brian Jungen used a router to carve out a design into the art gallery walls. The gallery wall had been painted hundreds of times with varying colours. The beveled edge of the carving revealed all the coloured layers of paint like layers of sediment.

Abracadabra ScreenPrint Poster Process

I had the opportunity to design and screenprint the Abracadabra art show and book launch poster. Here are some  photos from the screen-printing process. The poster is a 4 colour design, the third colour being a faint gloss spot colour. The poster was screen-printed at the Seriscope Studio. First I started out with a quick sketch which was then realized in Adobe Illustrator. Illustrator is great for creating geometric shapes, it's quick and easy to resize images and makes for a good program to mess around with. Photoshop can be a little more static because your actually painting pixels, which can be hard to make changes. The colours of the design on screen are only a guideline when choosing colours for printing. The final decisions happen when mixing inks right before the print. Here is the final design.

Abracadabra Exhibition & Book Launch Poster

When screenprinting you must separate each colour, which is then "burned" to separate screens. These screens are used one at a time to lay down individual colours. You will notice an olive green colour that was created by overlapping the light green and peachy/tan colour.  I'm not gonna go to much into screenprinting because all the info is out there on the internet. Here are the four stages of the poster printing.

1. First Colour - Peachy / Tan

2. Second Colour - Bright Green

3. Third Colour - Transparent Cotton Candy Pink Gloss

4. Fourth Colour - Black

The Abracadabra posters will be available to purchase in the coming days through our online shop.  The edition is signed & numbered / limited to 30. Pre-orders are being accepted via email.

Weakhand Posters

weakhand - poster While living in Vancouver I became acustomed to the posters of weakhand. His dedication and craft are admirable. I don't know much about weakhand but it looks as though his posters are handmade using an airbrush. Many artists with his skill would be slapping a $$$ tag on the artwork and floggin it on the market. Long live weakhand and other artists like him.

The Poster Design of Chaz Maviyane-Davies

Chaz Maviyane-Davies is a Zimbabwe national, presently Professor of Design at the Massachusetts College of Art in Boston. For more than two decades his work has taken on issues of consumerism, health, nutrition, social responsibility, the environment and human rights. "Over the years I have tried to use images and ideas to cut through complacency and apathy while trying to raise consciousness about an array of social issues from discrimination and human rights, to health and the environment. Creating an alternate vision as my expression in a pervading regressive body politic has never been easy, but design is my weapon and therein lies the challenge I call "Creative Defiance."

Chaz Maviyane-Davies Poster Design

Poster Design

Chaz Maviyane-Davies Poster Design

Chaz Maviyane-Davies Poster Design

Chaz Maviyane-Davies Poster Design

Chaz Maviyane-Davies Poster Design

You Get What You Give - Spring 2008

You Get What You Give Less than a month left in the Spring Edition of the You Get What You Give series. The final day of Spring is June 20th. Submit your artworks by then to be included in the Spring edition.

You are invited to take part in the project

The premise is to install a free piece of art for the general public. Knowing that other people from around the world will be doing the same thing. Photographs of the artwork will be collected and a free downloadable zine will be produced and distributed through the Anteism website. You share a piece of art and receive a multitude more in return.

What do I have to do?

Create and share. Whether you consider yourself an artist or not, produce something and install it for all to see. Then photograph your public artwork. You can even photograph the transition of what happens to the art and the effects it has on the people viewing it. Then send the photos to ryan@anteism.com along with your name, country, city and cross streets or area description of where the art is installed. Sit back and wait for your gift to multiply and return to you. An online zine will be produced and you will be emailed a link to where you can download the finished book. At the conclusion of the project an actual zine will printed and co-produced by Islands Fold. (Please send the photos in Maximum quality Jpg or Tiff format. The higher image size the better, but we will try to make whatever resolution we receive work)

How and When?

The Spring Volume will be produced between March 20th - June 20th, 2008. All artwork must be displayed and submitted within this time-line.

Final Production of all four volumes.

A printed zine with “selected works” will be printed and co-produced with Islands Fold Publishing The proceeds from the sales of the book will go towards the Not For Profit - Islands Fold artist residency and making future Anteism projects happen.

You Get What You Give - Vol1 - PDF Zine You can Download the first volume of the project to view the art displayed in the last issue.

Here are some samples of works people have sent in so far for the Spring Issue. Anteism - You Get What You Give Anteism - You Get What You Give Anteism - You Get What You Give Anteism - You Get What You Give