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Lee Lozano, NO TITLE, 1962. Graphite and crayon on buff paper, 27,3 x 34,9 cm (10 3/4 x 13 3/4 in.). © The Estate of Lee Lozano. Courtesy Hauser & Wirth.

A large, thick-fingered hand performs an odd dance in sharp chiaroscuro, taking up a whole sheet of paper.

Lozano's graphic work is less explicit than the other drawings in the series to which it belongs. It depicts a single hand whose fingers have the features of a male sex in different variations. The phallic motif is omnipresent in her work. Whether explicit, suggestive or even abstract, it always tends to evoke the omnipotent presence of man in our society, even in our most harmless visual world. 

No Title was presented for the first time by the Pinault Collection during the 2009 group show “Mapping the Studio” at the Palazzo Grassi and Punta della Dogana.

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Celestial Music for Imaginary Trumpets (1976) by Tom Johnson

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Brion Gysin, PERMUTATIONS, pp. 8-9 / The sequential permutation of the Divine Tautology ‘I AM THAT I AM’ begins. Written between 1958 and 1982. Edited and designed by Alec Mapes-Frances, DABA Press, 2021.

This volume collects, for the first time, all of Brion Gysin’s “permutated poems.” Written between 1958 and 1982, these poems are composed from a brief phrase or sentence whose words are exhaustively or almost exhaustively permuted over the course of each poem. Gysin wrote the texts manually at first, although later, in collaboration with programmer Ian Sommerville, he would generate permutation poems with the help of a computer.

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Thomas Mailaender (b.1979), Prank, 2014. Cyanotype print on paper

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Electronic Revolution Cover Ph., Written by William S. Burroughs, Originally published in 1970 by Expanded Media Editions

↘︎ https://www.ubu.com/historical/burroughs/electronic_revolution.pdf

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Chapeuzinho Amarelo por Chico Buarque, ilustrado por Ziraldo, 1979

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I’ve Got Something to Say that Only You Children Would Believe, 1969. A book illustrated by Abbas Kiarostami and written by Ahmad Reza Ahmadi. Tehran, Iran: Kanoon (Center of Intellectual Development of Children and Young Adults/کانون پرورش فکری کودک و نوجوان). You can download a PDF version of the book here.

Abbas Kiarostami had a long, colourful career as an illustrator, graphic and film title sequence designer, and photographer before his career as a filmmaker got kick-started in the early 1970s.

His slow success and even a slower international recognition meant that this first part of his artistic life had vert little chance to be appreciated in time and not surprisingly, it was overlooked even by his ardent audience. One could argue, his eventual coming back to these fields (plus poetry and installation) in the 21th century was itself a classic case of Kiarostamian "return" as often seen in his films: returning to a home, to a place, to a landscape, in this case, to old passions.

A great portion of the achievements of these early years remain unavailable but here we have a wonderful example of his illustration work which he contributed to a children book, written by modernist poet and author Ahmad Reza Ahmadi.

There is another interesting story about the book: Attached at the end of the PDF file are letters from the Ministry of Culture demanding changes (i.e. censoring) for the second edition of the book which came out in 1971. I can't still figure out what made the censor sensitive to the content on pages 6 and 20 but if there's a lesson in this, it's that censorship in Iran has always been as stupid and pointless as it is today.

Special thanks to Morteza Seyyedi-Nejad who has scanned and shared online this rare and precious publication.

↘︎ Posted by Ehsan Khoshbakht: https://notesoncinematograph.blogspot.com/2020/03/Kiarostami-book.html

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KPFA Folio Cover [Voulkos at work by M. d’Hamer], Vol. 15, No. 24, March 8-21 1965 (From the Pacifica Radio Archives / Pacifica Foundation)

Our cover photograph by Margaret d’Hamer is of Peter Voulkos at work in his studio. Both are UC Design Department members.

↘︎ https://archive.org/details/kpfafolio1524paci/mode/2up

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PIM-PAM-PUM cada bala mata um Mas se a bala não matar não há problema nenhum podemo-los estrangular com a fome ou com a prisão com o frio com o segredo com o degredo com a tristeza com o bafio ou com o medo

José Fanha em Busca, Edição do Autor, Lisboa, S.d. [1977], 37 págs, 14,5 x 20,5 cm (com ilustrações de Manuel Botelho e capa de João Nasi Pereira)

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Kátia Bento, O GESTO INTER/ROMPIDO, c.1970s. Colagem e caneta s/ papel, 16 x 25 cm [do Arquivo do Poema/Processo, aqui].

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Jonathan Rosen, Smile! In LCD magazine, “The Best of LCD: The Art and Writing of WFMU-FM 91.1 fm”, Dave the Spazz (editor), Princeton Architectural Press, New York, 2008, p.33.

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Norma Tanega, Mark Iosifescu (ed.), Try to Tell a Fish About Water: The Art, Music, and Third Life of Norma Tanega (Brooklyn, NY: Anthology Editions, 2022)

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William Wondriska, Which Way to the Zoo? (NY: Holt, Rinehart & Winston, 1961)

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In Bruno Munari’s Zoo (Published by World Publishing Co., 1963)

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Lorraine O’grady (American, 1934–2024), Cutting Out CONYT 26, 1977/2017, letterpress printing on Japanese paper, cut-out, collage on laid paper, 106,05 x 76,2 cm, Museum Purchase, Barbara Cooney Porter Fund, 2020.24. © Lorraine O’Grady/Artists Rights Society (ARS), New York

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Álvaro Lapa (1939–2006), As profecias de Abdul Varetti, escritor falhado, 1972. Coleção Fundação de Serralves.

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Mina Loy, Devant le miroir, c.1905. Graphite on brown paper mounted on cardboard, 41 × 33 cm. Private collection. Courtesy Bowdoin College Museum of Art. Photo: Jay York.

One of the first artworks in Mina Loy: Strangeness is Inevitable at the Bowdoin College Museum of Art [2023, curated by Jennifer R. Gross], is an early self-portrait titled Devant le miroir, in which graphite carves the waterline under a young eye suffused with heavy darkness. Below, a cheek shades down into a curve around sensuous lips that, one feels, used to smile. This is Mina Loy (1882–1966), a creative light both renowned and obscured in Modernism’s histories, whose eponymous exhibition is the first monographic presentation of her work, and significantly restores her to the center of international 20th century Modernism. ↘︎ Amy Rahn, https://brooklynrail.org/2023/07/artseen/Mina-Loy-Strangeness-is-Inevitable/