#I wish I could get a print of Jorge's cover

[dark-orca-dynasty]

I managed to extract the covers from my digital copy of the comic! I have the omnibus version, with all six issues.

I have to say, I think Jorge Corona's variant is my favourite. Kaiko looks so delightfully deranged. And Ant looks just like his mum <3.

[gokinjeespot]

off the rack #1156

Monday, March 20, 2017

 It's the first day of spring but you would still think it's the dead of winter here in Ottawa. I hear it snowed in Vancouver recently too. I don't consider spring starting until I can't see anymore snow on the ground around our neighbourhood. I figure that will be the middle of April this year. I've already seen a robin at our house though. We put up a bird feeder last fall and it attracts many birds. Mostly house sparrows but we see finches, juncos, nuthatches, chickadee-dee-dees and our favourites the cardinals and woodpeckers. The male cardinals are bright red-orange and the females are a mocha coffee colour. We have had downy, hairy and pileated woodpeckers come and feed. Watching the birds outside our window is like watching fish swim around an aquarium. Very calming. Until the undesirables show up. Starlings and squirrels snark up a lot of feed and scare away the little birdies. The squirrels have gotten so brazen now that I have to go outside to shoo them off the feeder. I used to be able to do that just by banging on the window. Stupid squirrels.

 We lost one of the greatest comic book artists on March 18 when Bernie Wrightson succumbed to cancer and passed away. I have always been a bigger fan of the art side of our hobby and Bernie's art gave me goosebumps. His pen and ink work was stunning. Rest in peace Mr. Wrightson.

 Punisher #10 - Becky Cloonan (writer) Matt Horak (art) Frank Martin with Guru-eFX (colours) VC's Cory Petit (letters). I'm disappointed in Matt. This whole issue takes place at a sea port in Newfoundland and he didn't put one Canadian flag in any of the panels. Even a little one would have been nice. It looks like another dire situation for Frank but the bad guys screwed themselves. You'll see the obvious giveaway, but maybe I'm wrong.

 Uncanny Avengers #21 - Gerry Duggan (writer) Kevin Libranda (art) Dono Sanchez Almara with Protobunker (colours) VC's Clayton Cowles (letters). If there's a fill-in artist who makes me just as happy to read this book as when regular artist Pepe Larraz draws it, then it's Kevin Libranda. I liked how Deadpool found a way to defeat the Red Skull's Professor X powers. I wonder if they're going to bring back old Charles.

 Batman #19 - Tom King (writer) David Finch (pencils) Danny Miki, Trevor Scott & Sandra Hope (inks) Jordie Bellaire (colours) Deron Bennett (letters). The art in this issue is pretty awesome. Part 4 of "I Am Bane" has the big bad guy wading through Batman's rogues gallery one by one. Almost every Bat villain you can think of get's his licks in. odd that there are no women. I was also bothered by the fact that they're all loose inside Arkham asylum. How are they going to be get back in custody? The last page leads into the inevitable final battle between Bane and Batman and I want to see who wins. Like I couldn't guess.

 American Gods #1 - Neil Gaiman (writer) P. Craig Russell (script & layouts) Scott Hampton (art) Rick Parker (letters). I started a list of books I want to read after the Snail closed because I found myself with a lot of extra time. American Gods by Neil Gaiman is on that list. I've been told what the premise of the book is so I had a bit of background going into reading this first issue of the comic book adaptation. Reading the comic book is going to enhance my reading of the novel when I get around to it because I will visualize Scott's depictions of the characters in my head and they are very nice ones. The back-up story "Somewhere in America" by P. Craig Russell (script & art) and Lovern Kindzierski (colours) was a hot piece of erotica about unsafe sex. This gets added to my "must read" list.

 Totally Awesome Hulk #17 - Greg Pak (writer) Mahmud Asrar (art) Nolan Woodard (colours) Cory Petit (letters). This hasn't been a solo book for the last few issues with Amadeus hanging out with his friends but I am still enjoying it. This issue is a good place to start as the team has to figure out a way to save themselves and some civilians from being eaten by aliens. You could call these guys the Asian Avengers because what happens in this issue gives them something to avenge. If you jump on here you won't want to jump off until you read the next issue.

 Batwoman #1 - Marguerite Bennett & James Tynion IV (writers) Steve Epting (art) Jeromy Cox (colours) Deron Bennett (letters). Kate chases after a mystery woman from her past after dealing with a terrorist in Istanbul. I like how she's teamed up with Julia Pennyworth.

 Kill or be Killed #7 - Ed Brubaker (writer) Sean Phillips (art) Elizabeth Breitweiser (colours). This issue features Dylan's ex-girlfriend Kira, now with purple hair instead of red. I'm glad she's still hanging around because boy does she have problems. We start off during a session with her therapist and get a lot of background. I love this kind of stuff because it makes the characters more engaging. Kira might need an emergency session after she decides to do something stupid at Dylan's place.

 Monsters Unleashed #5 - Cullen Bunn (writer) Adam Kubert (art) David Curiel & Michael Garland (colours) VC's Travis Lanham (letters). Okay, Kid Kaiju comes through to save the world from the Leviathon Mother, showing up all the Marvel super heroes. I guess that's why he's getting his own book. Look for it to hit the racks on April 19. Unless it's drawn by an artist that I really like I will take a pass. The Kid's creations are more suited to fans of action figures or Saturday morning cartoons than an old coot like me.

 Super Sons #2 - Peter J. Tomasi (writer) Jorge Jimenez (art) Alejandro Sanchez (colours) Rob Leigh (letters). This is great. I don't know why but I love really well written comics about young super heroes like this and Champions. Maybe it's because I can't let go of being a kid. Damian and Jonathan have to deal with Super Lex in order to get a lead on Kid Amazo, the very bad boy they're after. Everything doesn't go smoothly and then, uh-oh, their dads find out about what they're doing. I can't wait to see what happens next.

 Wild Storm #2 - Warren Ellis (writer) John Davis-Hunt (art) Steve Buccellato (colours) Simon Bowland (letters). This 24 issue series is very ambitious and there are a lot of players involved. If I was a new reader I would be wondering who are these people? Some people work for International Operations (IO) and some people work for Halo. The two organisations don't like each other and they're both after Angela Spica, the Engineer. I hope that helps with getting into this story. One of my favourite things from the old series was the Door which could transport people to different places. I think we're introduced to a new Door this issue and she's a lot better looking than Lockjaw.

 Ms. Marvel #16 - G. Willow Wilson (writer) Takeshi Miyazawa (art) Ian Herring (colours) VC's Joe Caramagna (letters). I like this story about a malevolent computer virus and it looks like Kamala can't defeat it. That is until she gets a clue from her old pal Bruno. I can't wait to find out how Doc.x gets deleted.

 Superman #19 - Peter J. Tomasi & Patrick Gleason (writers) Patrick Gleason (pencils) Mick Gray (inks) John Kalisz (colours) Rob Leigh (letters). Part 3 of "Superman Reborn" looks like it might resurrect the pre-New 52 Lois and Clark. I hope not. That would confuse me to no end and then I would get annoyed and stop reading these amazing Superman books. Patrick draws the creepiest Mr. Mxyzptlk ever. I wonder if they're going to do the saying the imp's name backwards thing?

 Guardians of the Galaxy #18 - Brian Michael Bendis (writer) Valerio Schiti (art) Richard Isanove (colours) VC's Cory Petit (letters). I love these issues featuring one team member. Angela's up this time around and it's a beautifully drawn fight scene between her and some alien bounty hunter. The issue ends with a major threat heading for Earth. It starts with Th and rhymes with anus.

 Spider-Man #14 - Brian Michael Bendis (writer) Sara Pichelli (art) Justin Ponsor (colours) VC's Cory Petit (letters). Nothing serious between Miles and Gwen despite what the cover shows. This is one of those issues that annoy Bendis detractors because nothing really happens. The heroes hop from one dimension to another and each wind up in different ones by the end of this issue. I can easily forgive because of Sara's art.

 Mighty Thor #17 - Jason Aaron (writer) Russell Dauterman (art) Matthew Wilson (colours) VC's Joe Sabino (letters). The gods of Asgard and the Imperial Guard of the Shi'Ar finally come to blows in part 3 of "The Asgard/Shi'Ar War". Meanwhile Thor can't seem to win much in the challenge of the gads against the Shi'Ar gods Sharra and K'ythri. Mjolnir is sure getting a workout though. This book is not only chock full of action but it's visually stunning as well.

 Amazing Spider-Man #25 - Dan Slott (writer) Stuart Immonen (pencils) Wade von Grawbadger (inks) Marte Gracia (colours) VC's Joe Caramagna (letters). I wish you didn't have to pay $9.99 US for this one issue starting off "The Osborn Identity" story. That's a bit much for one comic book don't you think? Sure you get a bunch of back-up stories but none of those really matter to the main story. You do get 40 pages of Stuart and Wade goodness though, so why couldn't they have printed just that and charged $4.99 US? As you can probably tell Norman Osborn is back so the Green Goblin can't be far behind. I did like the team-up with Mockingbird with a hint of Peter and Bobbi possibly becoming more than friends. Here are the other stories that pad this issue. A fight with Clash by Christos Gage (writer) Todd Nauck (art) Rachelle Rosenberg (colours) VC's Travis Lanham (letters) which has the old "it's not what you think" twist at the end. A silly Tsum-Tsum story for the younger readers by Jacob Chabot (writer) Ray-Anthony Height (pencils) Walden Wong (inks) Jim Campbell (colours) VC's Cory Petit (letters). Thank Thor that was a blessedly short 6 pages. A Parker Industries mishap at their Shanghai facility by James Asmus (writer) Tana Ford (art) Andres Mossa (colours) VC's Travis Lanham (letters). A young Spider-Man story about a boy and his dog by Hannah Blumenreich (writer & pencils) Jordan Gibson (inks) Jordie Bellaire (colours) VC's Clayton Cowles (letters). Some Aunt May gags by Cale Atkinson which were even sillier than the Tsum-Tsum story. And finally to ease the pain of having to buy an overpriced comic book, the return of another Spider-Man nemesis. One thing that "The Clone Conspiracy" did was bring back Otto Octavius, Doc Ock. He now has a youthful body thanks to Miles Warren's cloning process. So meet The Superior Octopus by Dan Slott (writer) Giuseppe Camuncoli (pencils) Cam Smith (inks) Jason Keith (colours) VC's Joe Caramagna (letters). He's bad-ass now plus he's got Hydra backing. Here's a prediction: Somewhere in the future Peter and Norman have to team up to fight Otto and Hydra.

 Archie #18 - Mark Waid (writer) Pete Woods (art & colours) Jack Morelli (letters). This issue proves that love is blind. Archie and Veronica have nothing in common and should not be together. Betty and Dilton Doiley are more compatible. I wish I was Dilton Doiley.

[sararoseey-blog]

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[xsmagazine-blog]

[interview] AA Bronson

AA 브론슨(b.1946 캐나다)의 작품이 광주비엔날레에서 대거 소개됐다. 그의 작품이 설치된 팔각정 창작스튜디오는 에로틱한 영적 치유의 기운이 가득했다. <AA 브론슨의 수치심의 집>이라 명명된 이 나선형의 전시장에서 관객을 처음 맞는 작품은 TM  데이비가 캔버스에 유화로 그린 <마법의 숲 속 AA>. 더 가까이 들어와 보라는 ��� AA 브론슨이 오달리스크 자세로 유혹의 손길을 보낸다. 건식 사우나를 연상케 하는 마른 쑥 향과 달달한 향내가 진동하는 1층 전시장 안쪽으로 들어서면 ‘마법의 숲’이 펼쳐 진다. 건물 중앙의 벽감에 발을 치고 대나무 돗자리를 깔고 앉은 브론슨이 MoMA의 C-MAP팀과 인터뷰를 하고 있었다. 널부러진 위스키병, 마른 안주, 타고 있는 초와 향 등으로 구성된 현장 설치 작업 <퀴어 영혼들의 초혼제>는 무명 게이들의 죽음을 애도하는 제단이자, 은밀한 만남의 장소다. 그는 1969년 펠릭스 파츠(Felix Partz), 요르헤 존탈(Jorge Zontal)과 함께 ‘제너럴 아이디어(General Idea)’를 결성, 25년 동안 동고동락했다. 잡지 《FILE》(1972~89)를 창간해 펑크, 퀴어 이론, 에이즈 엑티비즘 등의 문제를 이슈화했다. 1994년 에이즈 합병증으로 멤버 모두가 세상을 떠나자, 그는 큰 실의에 빠져 5년 동안 아무것도 할 수 없었다고 한다. 아픈 동료를 위해 배웠던 테라피 요법을 전문적으로 연구하기 시작했고, 1999년부터 심령술을 접목한 작품을 발표하며 인생과 작업에 전환기를 맞았다. AA 브론슨은 뉴욕 독립 출판계의 전설이다. ‘힙스터 미학’을 대표하는 사진작가 대쉬 스노우는 생전 그가 운영하던 ‘프린티드 메터(Printed Matter, Inc.)’에서 책을 판매하는 것이 소원이었다고 말했을 정도. 2004년부터 6년 간 이곳을 운영하며 젊은 예술가들의 예술 창작욕을 고취하고, 911사건 이후 몰락한 뉴욕의 독립 출판계를 화려하게 부활시켰다. 2005년에는 뉴욕북아트페어를 성공적으로 출범시켰고, 2013년에는 펀딩 디렉터를 맡아 LA에도 북아트페어를 개최했다. 전시장 3층을 빼곡하게 채운 큐레토리얼 프로젝트 <퀴어 진스>는 독립 출판물에 관한 그의 관심과 게이라는 정체성이 집약돼 있다. 필립 아론스와의 협업으로 완성된 아카이브에는 1970년대부터 현재까지 출간된 퀴어 출판물이 한데 모아 있다. 비엔날레의 본전시장에서 섬처럼 떨어진 이 ‘집’에서 한국 관객은 어��� 종류의 ‘수치심’을 느끼게 될까?(K)

The most impressive moment at Gwangju Biennale was the pagoda building where your art works were exhibited. In particular, I remember the third floor. At the first and second floors, we could see some fantastic mood, a religious sublimity, a shamanism unconsciousness, etc., all being mixed with each other. When we arrived at the third floor, we felt that we had met a historical scene that was unknown or almost forgotten. Of course, it was a part of the gay sub-culture history. However, I thought that it was a moment when we faced a primitive historicity of the medium 'zine.' We know that it was presented several times at the art book fair. We wish you would explain to us about the magazine introducing the art work.

Yes, the third floor was entirely different from the first and second floor. There I presented an exhibition-within-the-exhibition, titled "QUEER ZINES". I first put together Queer Zines for the NY Art Book Fair in 2008. The collector Philip Aarons approached me with the idea. He was interested in the phenomenon of the queer zine. They begin in the late seventies, and the earliest seem to emerge from the explosion of punk zines that started in 1976 in London. Like punk, queer zines are made by people who feel estranged from society, with the philosophy of "Just do it!". The punks were also publishing their own records in small quantities and exchanging them with each other. Queer zines were mostly made by people who did not feel part of the gay liberation movement; they felt like outsiders, even in homosexual culture. With their zines, they could find each other, and most people traded zines in the mail. I think of this exhibition as an "artwork" by me... it is not "curated" in the normal way.

It might be an unnecessary worry, but many Korean readers may well doubt why your interview is featured in our planned edition about 'independent publication.' Why should it be a zine? Or, why should it be an independent publication? I thought that your art activities were inseparable from the independent publications. In 1960s, I mean when you were energetic enough to change the world anew as 'a hippie,' what did the independent publication mean for you? (I understand that your first work was an underground newspaper, "The Loving Couch Press.")

In the 60s, the web offset press was designed and became popular. This was a printing machine that allowed for small-run production of newspapers and magazines. The result was the phenomenon of the "underground newspaper". Underground newspapers were published by hippies and other underground and alternative groups across Europe and North America, as well as Australia. Prior to this time, independent publications were usually small poetry presses, run by poets. But this was an entirely new phenomenon, something that could change the face of culture.

Your full-scale magazine production was "FILE," a model of the general ideas. It might be a work using the magazine as a medium. Anyway, it was your model project that had lasted longest from 1972 until 1989. Please, explain to us how you started the project, in terms of its process, background, and contents of the magazine. (I once heard that there had been a considerably conservative but small artists' community in Toronto. Do you remember an episode regarding the atmosphere at that time?)

Yes, we began FILE because we were very unhappy with the art world in Canada and especially with the magazine Arts Canada. We felt that we needed our own art magazine, and so we started FILE. At the beginning it was a kind of diary, showing projects by ourselves and our friends, work that mostly we received in the mail. But after some years it developed into a magazine of artists' projects. At that point we became bored, and stopped. Our first subscribers were Andy Warhol and Joseph Bueys.

I read that you had repeatedly read Robert's Smithson's essay "Incidents of mirror-travel in the Yucatan" that had been featured in "Art Forum" in 1969. When you were producing "FILE," do you remember having been affected or inspired by any work or figure? If so, how were you affected or inspired? (We hope you will explain to us about the movement of the art scenes at that time.)

Yes, that is right! You have doe your homework! Other artists who inspired us at that time were Andy Warhol, with the Factory, the way in which his social activity generated his art activity, not to mention Interview Magazine. And also Joseph Beuys, mostly for his enormous production of low cost multiples and his philosophy of direct democracy.  We were also big fans of the Velvet Underground, William Burroughs, and Yves Klein. We were interested in a certain kind of performance too, especially Yoko Ono.

Although it can hardly be simplified, the timing when you started your art activities is overlapped with conceptual artists' emergence. At that time, those conceptual artists concentrated on the art works like publications, which deviated from the existing art works. Could your earlier work be evaluated in such context of the art history? (One common point I feel might be a resistance to the art market.)

Yes, that is right. The conceptual artists and the Fluxus artists were mostly just a little older than us. Like them, we resisted the art market (not difficult to do in Canada, as there was no art market there at the time).  Also at the same time, Gilbert & George appeared, who were the same age as us--we exchanged stuff in the mail all the time, publications and small editions.

What was a characteristic of “FILE” production in its process? I would like you to explain to us about its production process. (printing methods, selection of contents, sales, etc.)

FILE was a newspaper pretending to be a magazine. There were usually 64 pages, in an edition of 3,000, printed on newsprint, with a glossy cover added afterward. It was based on the design of LIFE Magazine so that it would look familiar on a newstand. It cost almost nothing to print, which was lucky, as we had no money. Jorge and Felix and I would choose the contents our of things that people sent us in the mail. This was the time of mail art, and sometimes we would get 30 or 40 or even more packages from artists each day. We sent the first three issues out for free. We sent one to every person we could think of who we thought was interesting. Mostly these people were in New York or Europe, and somehow word got around quite fast about this new kind of magazine--nothing like this existed at the time. Evetually we realized that there was always one "trendy" store in every mid-sized city in Europe and North America, and these were the stores that sold FILE nest. We also tried to reach as many libraries as possible.

Since "FILE" was published as a book in 2008, we could reconfirm its history. How can we attach a historical meaning to "FILE"? Oliver Zahm of "Purple" magazine said that "FILE" had been a role model when he began to make magazine at the age of 17. I remember the passage "an alternative to the alternative press" that was the last editorial of "FILE" in 1989. Not only you produced a magazine, but you also established an artist run center "Art Metropole" in Canada in 1974. What was the motive for it?

Art Metropole grew out of FILE. The distribution of FILE was quite successful and other artists began asking our advice. We began Art Metropole as a distribution center for artists publications and low cost multiples but also as an archive of the same materials.

What programs were run there?

Art Metropole was a role model of Printed Matter founded by Sol LeWitt, Lucy Lippard, Carl Andre, Walter Robinson, etc., in New York in 1976. Since 2004, you have been a director of the institution. You were active in New York for long, but you might have been subject to various mixed feelings when they offered you the director. What was your sentiment, then?

I lived in New York from 1986 through to 2012. When Printed Matter asked me to join the Board of Directors in the 90s, I was very pleased to do so. I love books and I love Printed Matter. In 2004, the organization was having big financial problems. It seemed like it might have to close. The Board asked me to work as Director for 6 months, to see if I thought it could be saved. In the end I worked there for 6 years instead. In that period I also founded the NY Art Book Fair and the LA Art Book Fair. Printed Matter became the center of an international co I am very mmunity of artists and independant publishers. At the most recent NY Art Book Fair there were more than 350 exhibitors from more than 25 countries.

When you were appointed the director of Printed Matter, what roles, missions or vision were given to you? When you began to work for them, we know that people interest in the independent publication was quite different than now. When Printed Matter greeted its 30th anniversary, the first art book fair was held in New York in 2006. Many people indicate that you played a central role in upholding New York as the center of art books. We wonder why you started the art book fair again. Was there an internal or external special purpose on you?

When I began working at Printed Matter, I was very aware that most of the art book stores in New York had closed. At one time New York was a world center for art books, but that time was gone. Famous art booksellers, like George Wittenborn and Jaap Rietman, were gone, and even the museum bookshops were getting smaller and smaller. The idea of the first NY Art Book Fair was to try to establish New York as a gathering place for art book publishers once more. At the same time, it allowed us to see the new books that people were doing, to order books for ourselves, and also to meet the artists and publishers and make new friendships and networks. The first NY Art Book Fair was organized very quickly. In three months we had 70 exhibitors, from large publishers like Taschen, to small artist-run publishers doing political work. The DIA Foundation donated the space in a building around the corner from Printed Matter and everything happened very quickly.

The art book fair or the book store selling small-scale independent publications seems to set a kind of 'art community building' as a Utopian idea. Not only artists but also publishers, curators, gallerists, critics, etc., gather together. Of course, the vision or goal of the community is quite different among people. How about you? We feel your (common) work always starts from such an idea...

Yes, I am--and have always been--a community builder. I think my important accomplishment during this period at Printed Matter was to build an international community of art publishing friends, with their annual get-together at the NY Art Book Fair. It is exciting to see the happy faces, and to see how many new projects begin with the friendships that are formed there. 

Now, New York Art Book Fair has been established as the hottest event where young international artists gather. As a leader of this event, what do you think is the secret of its 'success'? Why have so many people been enthusiastic about New York Art Book Fair? (I could not but help bursting into laugh at the scene where you showed an ATM machine at a speech.) I would like to use the expression 'poor but sexy.' I remember that Holland Cotter of "New York Times" defined the first New York art book fair as such. "“The NY Art Book Fair…is evidence that alternative is still vital, sexy, and free.”

I think the secret to its success is to always say 'yes'. Say yes to the most unknown but energetic young artists who want to make a difference in the world. Say yes to the small publishers with experimental ideas. Say yes to the old-fashioned antiquarians, who love their artists books, and who know more than anybody. Say yes to the art librarians, who have made such a fantastic success of our annual conference at the NY Art Book Fair. Include as many people as possible as long as they are passionate, fun, and smart. It helps if they are attractive too. Many people have remarked on how sexy the audience is at the NY Art Book Fair but I often think it is mostly because people are excited and happy to be there, they have a real energy and that makes the fair sexy too.

If there was the widest difference between you as an active general idea striker and those who were engaged in 'independent publications,' what was it? Q 6-6. At a speech you explained about the Russian constructivism, Dadaism, Fluxus and other art trends. Then, you said that "the history of an artist's independent publication started with resistance." Some people express that you are 'counter-culture guerrilla." Other people question that 'resistance' is still relevant to the independent publication. It is doubtful that the enthusiasm about the independent publications might be another way to approach another commercial system. What is your position between the enthusiasm and cynicism surrounding the independent publications?

Yes, this is true, and I think it is still true about many artists' publications. Publishing is an easy cheap way to get your ideas out into the world, especially if those ideas do not agree with the mainstream marketplace. But the territory of the artists' book can be shared with all kinds of people. In fact it takes all kinds of people to make a community. So I always tried to include more commercial publishers too, where their enthusiasm for the artists was genuine, and the publishing was of high quality. 

At an interview in 2010, you said you feared that the New York Art Book Fair might be 'institutionalized'. What kind of 'feared'? As the event has grown, it might well have faced various problems. We fear that the essence of 'independent publication' would be tarnished in terms of its connection with the conventional art institutions. If there is a problem against its success, what is it? And how much do you say the art book fair has been successful?

The NY Art Book Fair has been incredibly successful. My fears were (so far) unfounded. I was afraid that all the big publishers would join in and take over the fair, but that has not been the case. And I completely underestimated the number of small publishers in the world, and the size of the community that they represent. There has not been pressure to make a more mainstream fair, as I feared... most people seem to love the fair for what it is.

Some people indicate that the success of the art book fair may well be tarnished by a negative criticism of it. How do you evaluate the art book fair in our contemporary art history? Q 6-9. On the other hand, you have invented a model artist who recreates a new institution incessantly. How do you think about an artist's institutionalization?

It's true that I am an artist who is constantly founding my own institutions, from FILE Megazine and Art Metropole in the early 70s to the School for Young Shamans, and the Institute for Art, Religion and Social Justice more recently. I'm not sure why I do that. I love to build structures, and to involve other people! 

Q 6-10. As the New York Art Book Fair has been successful, the LA Art Book Fair is being launched. What is the main difference between the two events?

We feel that the participants are as much different as the localities. When we began the LA Art Book Fair, my idea was to involve more publishers from the Pacific rim: from Seattle and Vancouver to Japan, Korea and Australia. In fact, that has not been quite the case. But an enormous number of publishers from the west coast of Canada and the USA exhibit at the fair, and also a lot of Europeans--they are attracted by the myth of Los Angeles, and of course the January weather. But in Los Angeles I tried to emphasize different kinds of exhibitors, more young people and more zines, but also more people working with unusual interdisciplinery ideas, where publications are hybridized with performance and with social practice. We have much more space in Los Angeles, so it is possible to do that. 

The success of New York and LA has contributed much to the book of the global art book fairs. We think that you have toured to various art book fairs. Amsterdam, Tokyo, London, Paris, etc. If there is a difference between the art book fairs you observed and those you curated personally, what is it?

I think that most art book fairs tend to reflect the age and interests of the people who organize them. Miss Read: The Berlin Art Book Fair (for example) is excellent, as far as it goes, but it does not include young people, nor does it include much older people. It is relatively academic, with no zines, and no queer presence either. The London Art Book Fair, on the other hand, represents a lot of older publishers, more mainstream publishers who the bureaucracy of the Whitechapel Art Gallery are familiar with. This year it hired Gareth Long, a London artist who once helped me with the NY Art Book Fair, to rtry and bring a new excitement to that fair. The foinal result was very good, as far as it went. But there was not enough space, and not enough interest from the people in power, to really do something more youthful and exciting.

You have been active as an educator for long. When you were active as an general idea, you used to say that students were the most important audience. In that respect, the art book fairs may well have played as an educational public arena. Furthermore, we experience 'publicity' in that people make and sell something together. Since you started the collective activities earlier, the art book fair may have been very relevant to your art activities. In this context, what educational aspect did you focus on when you started the art book fair?

As much as possible, I have tried to bring together ideas about education, making art, and just enjoying living. The NY Art Book Fair has many layers. A person can involver themselves as  much or as little as they want, and in different kinds of ways. They can actually hear artists talk and meet them in person, through the talk series called "The Classroom", or they can attend the more academic conference, which brings together academics and librarians from around the world. Or they can spend all their time in the zine section, talking to the artists who actually make the publications, and learning how these things are done, and how to do them oneself. It is true that every exhibitor has their own network, and so each exhibitor also acts informally as a kind of publicist for the NY Art Book Fair. At the same time, each exhibitor is also an educator, as well as being a salesman. All these aspects merge at the NY Art Book Fair.

While you have been engaged in the art book fairs, being active as director of Printed Matter, you may well have faced numerous independent publications. Actually, you have collected the artists books for long. What would you like to recommend to us? Is there any special or memorable ones?

Oh my god, I think I own at least 10,000 artists' books, and I don't know how to choose one above another. My own advice is to buy what is new and what you love. Don't spend so much money on older and out-of-print books. The new ones will be out-of-print soon enough! Support living artists! 

When people heard that you would leave Printed Matter at 2010, many of them did not spare applause for your contribution. On the other hand, many others worried how book stores and art book fairs would change. Why did you leave Printed Matter and art book fairs? (We know that you are still engaged in them as a member of the board.) One aspect of Printed Matter and the book fairs for me was that everyone began to think of me as the "book person". My identity as an artist was being eroded. I began by going back to school at Union Theological Seminary--I wanted to explore spirituality, and this seemed a way to do it. That led to founding the Institute for Art, Religion, and Social Justice and soon I was organizing artists' talks and exhibitions again! But finally I moved to Berlin, where I can really focus on my own work. My exhibition The Temptation of AA Bronson at Witte de With in Rotterdam was chosen as the best exhibition in the Netherlands for 2012. This led to my project at the 10th Gwangju Biennale, and next I will do two simultaneous exhibitions at the Graz and Salzburg Kunstvereins. None of these are big institutions. I am happiest when working in an intimate milieu.

You have used many media for your work. Among them, what attractions do the books (zines) have for you? As a professional, do you have another standard for independent publications or art books? Q 11. To many young artists, you are a living legend, colleague and role model. What advise would you like to give to them who are yearning for creation? In addition, we would like to comment for our young Korean independent publishers and sellers. Just do it! (laughs) 

Q 11-1. At the interview with Stuart Comer of MoMA, you said, “Korea is a zine-crazy country.” What did you mean by that? (laugh)

Because you are Korean yourself, you may not realize that the Korean interest in making and in looking at zines is very special. Most countries do not have the same intense interest. We have noticed this at the NY Art Book Fair with our Korean exhibitors. They always have a very sophisticated and intelligen and informed approach to zines and to visual publishing (I guess I include graphic novels too).

What is your future plan? (I once read your interview that you would make another art book fair in Berlin.)

Now that I am away from New York, and set up in my new studio, I find myself most interested in developing my own work. I love collaboration and I will continue to collaborate with many artists, especially younger artists. But also I want to spend some time developing my own publishing projects... I have many ideas! However, my interest in other artists' publications and zines will not go away. For example, I am including the Queer Zines exhibition, with some recent additions, in my exhibition in Graz and Salzburg next year. I am honored to continue on the Board of Printed Matter. But I am very aware of my age--I turn 69 during the next Art Basel--the coming few years are my opportunity to make art, and to undertake the projects I love with the people I love. I wanted to finish this interview on the most important word of all, and that is LOVE.