This month, we’re proud to sponsor Another Crossing, a joint exhibition from photojournalist Giovanna Del Sarto and artist Bern O’Donoghue exploring challenges faced by refugees and asylum seekers. (more…)
Thursday, September 15th 2016
Thursday, August 25th 2016
You can learn a lot about a person from their kitchen. That’s what illustrator Lucy Payne came to understand after creating several studies of her own kitchen. “I realised what a personal and unique domain it is,” she says. “I wanted to see what other people’s kitchens meant to them.”
Payne, a student at the Glasgow School of Art, put out a call on the Scottish Women’s Institute‘s Facebook page, asking strangers to let her draw their kitchens. The response was surprisingly positive. “People I didn’t know welcomed me with open arms into their most private, domestic sphere,” she says.
10 Kitchens by Lucy Payne
Payne ended up visiting, and sketching, the kitchens of 10 strangers. She’s collected these illustrations in a digital tabloid newspaper, 10 Kitchens. She chose newsprint because it allowed space for her big, colourful drawings. “It was also a cost-effective way to print a large quantity,” she says. “And I like the traditional, tactile feeling of newspaper.”
“Each drawing session lasted around 2 hours,” Payne says, “during which time I made multiple A3 sketches. Some people stayed and chatted throughout my visit and some left me to it – even leaving me alone in their house! I admired this trust and openness.”
“With those who stayed, I found 2 hours provided a small, intense block of time in which to get to know the person. Some people played music, others fed me samosas and biscuits – all made me a cup of tea.”
Copies of 10 Kitchens are available on request – send an email to firstname.lastname@example.org if you’d like one.
Thursday, July 28th 2016
We printed Printed Web #1, the first publication devoted to web-to-print art and discourse, as a traditional tabloid newspaper in 2013. Since then, the publication has taken many forms as the project has evolved: a print-on-demand magazine, an Apache server directory, a limited edition book hand-bound at Henry’s Bookbinding.
The latest issue is back in newsprint. Printed Web #4 is a special commission for the International Center of Photography and forms part of the ICP Museum’s Public, Private, Secret exhibition, the inaugural show in their new location on the Bowery in New York City.
The 40-page digital broadsheet newspaper presents projects from Wolfgang Plöger, Lorna Mills, Molly Soda, Travess Smalley, Angela Genusa, Eva and Franco Mattes, Anouk Kruithof, Elisabeth Tonnard, and Christopher Clary, with a text titled “Folding the Web” by Michael Connor, artistic director of Rhizome. Each artist contributed work that engages with the concept of privacy today in relation to public visibility and self-identity.
Teacher and artist Paul Soulellis is the mind behind Printed Web, an offshoot of his Library of the Printed Web archive. Soulellis talked to Kate Palmer Albers earlier this week about the exhibition and Printed Web:
“Each spread [of Printed Web #4] was shown on the wall by using multiple copies of the publication. In this case, since the project was printed as a loose folio of newsprint sheets, we were easily able to separate the pages and fix them to the wall with magnets. Typically, my publications are displayed as objects to be handled…which sometimes feel ‘retail-y’ but ultimately this is a very good way to experience the work. The viewer is able to engage directly with the publication.”
“Because Printed Web publications are cheaply printed, they show the honest wear and tear of handling. I don’t mind that they bear these physical effects; this is a kind of evidence of the publication’s haecceity (its ‘what-it-is’), with its own material lifespace. I think of my publications as ‘poor media.’ Because Printed Web is always print-on-demand, copies are easily replaced.”
You can read the full interview with Paul Soulellis online at Circulation Exchange.
Public, Private, Secret runs 23 June 2016 – 8 January 2017 at the ICP Museum in New York City. For more details and opening hours, visit the exhibition website. Printed Web #4 is available to purchase from Spaces Corners at ICP Museum.
Thursday, June 23rd 2016
We love helping students make newspapers and many customers (and Newspaper Club employees!) come to us from the Glasgow School of Art. We look forward to checking out their work at the GSA Degree Show every year. Our Customer Assistant (and GSA alum) Hannah visited the exhibition earlier this week and rounds up highlights from the soon-to-be graduates:
It’s that time of year again! Summer’s here and the talented students of GSA have produced another standout show. The Degree Show 2016 opened on 18 June and continues until 26 June, with work from graduating students across the schools of Design, Fine Art and Architecture.
Like last year, the shows are split up due to the fire that devastated the Mackintosh Building in 2014. Fine Art students are set up in the Tontine Building in the Merchant City, while Design students have taken over the Reid Building in Garnethill (a building I’ve always thought resembles a marooned spaceship). Despite the distance between shows, there’s a unique spirit tying the students together through the impressive work on display.
I was excited to see how the Fine Art students adapted to the Tontine Building, an odd and somewhat confusing maze of studios. My first impression was that the students are confidently making use of the space, with bold installations and larger works. Striking prints by Rowan Flint were the first works to catch my eye. A mix of acetone and collage, her prints are bold but sensitive – a Timorous Beasties vibe with a bit of Hieronymus Bosch thrown in. Because, why not?
There was a high standard of painting throughout the show, but ethereal oil paintings by Ash Kitchen and graphic works from Laura Gaiger were my favourites. Kitchen’s oil painting are so subtle and sensitively handled they almost look like watercolours, with portraits of eminent women juxtaposed with delicate sculptures of bra cups and fur. Gaiger, on the other hand, is bolder with the paintbrush, producing abstract images of domestic objects that leap out with joyfulness and confidence – something I appreciate when trying to wrap my head around complex concepts.
Moving on to the Design show at Reid Building, the famous Textiles department – which has produced such talents as Jonathan Saunders and Pam Hogg – didn’t disappoint. I was particularly drawn to the work of Akash Sharma, who layers colours to produce kaleidoscopic patterns printed on a range of fabrics including jersey, sweatshirt, poplin and cotton drill. Other standout print designs came from Emily Stopford, whose playful, childlike fabrics evoke fond memories. If she ever decides to turn these samples into lil’ oversized sweatshirts – I’m there!
Communication Design is always a highlight for me (I’m biased –I studied it!) But the work on show here was genuinely fantastic. Walking into the room, you’re instantly hit by a wall of photographs by Sean Bell. Bell documents Glasgow nightlife and clubbing subcultures, capturing the eclecticism of youth in bold portraits of worse-for-wear partiers. A brave piece of work that summons the singular nature of Glasgow’s nightlife and its revelers.
Other highlights include character studies by Peter McKenna, reminiscent of John Kricfalusi‘s dynamic cartoons. Mckenna’s draughtsmanship is effortless and stands out for its simplicity and boldness – a real treat! I also enjoyed the work of Mari Campistron, who produced possibly the largest screenprinted book I’ve ever seen. It was huge! I didn’t trust myself to flip through the book, but happily observed from behind a friend’s shoulder with my glass of red wine a safe distance from this glorious work!
There’s so much great work at the GSA Degree Show, it’s impossible to cover everything. One highlight from Architecture was the large train station design by Ewan Whittle and from Product Design don’t miss Harriet de Wet, who designed a digital service to help bring stability to the everyday lives of Glasgow asylum seekers.
All in all, another fabulous and eclectic show from a group of future stars. I’m proud to see the beginning of your creative journey. The Degree Show 2016 ends on Sunday, so go take a peak before then! Full details and opening hours on GSA’s website.
Thursday, April 28th 2016
Since the 1970s, photographer Martin Parr has documented surreal pockets of everyday experience – from bored couples to garish food. Last year, the Hepworth Wakefield art gallery commissioned Parr to turn his lens on the Rhubarb Triangle, an anomalous nine-square-mile area in West Yorkshire known for its prolific production of early-forced rhubarb.
Parr told the The Guardian in January: “There are only 10 or 11 growers left in total and we approached them all [about taking part]. A couple said no but we photographed all of the others, several of whom had never been captured before. It is a fascinating subject and really helps connect the gallery with the local community.”
This new work formed part of the Hepworth Wakefield’s retrospective of over 200 of Parr’s photographs, The Rhubarb Triangle & Other Stories: Photographs by Martin Parr, which opened in February and ran through June 2016.
To accompany the exhibition, the Hepworth Wakefield published a traditional tabloid catalogue with photos from the Rhubarb Triangle series, tracing the plant’s journey from arduous harvest to triumphant pie competition, hosted annually by the Leeds & District Market Gardener’s Association.
Rosie Ripley, of the Hepworth Wakefield, says the gallery was eager to publish the work in newsprint.
“Martin Parr and the Hepworth Wakefield both strongly believe in the accessibility of art for the broadest possible audience,” she told us. “The cost-effectiveness and democratic possibilities offered by the opportunity to upload a design and then see it manifested as a newspaper were too good to miss!”
The Rhubarb Triangle is for sale in the Hepworth Wakefield shop for £5. The Rhubarb Triangle & Other Stories: Photographs by Martin Parr exhibition ran from 4 February – 12 June 2016.
The newspaper was designed by Leeds-based communications studio The Common Room.
Learn more about traditional tabloid newspapers. Our most popular size – perfect for catalogues, zines, comics, newsletters…the possibilities are endless. Our traditional tabloids are printed on real high-speed newspaper presses.
Monday, April 18th 2016
Here’s another great newspaper we printed for Glasgow International this year. The Bothy Sketchbook documents the research of visual artists Scott Brotherton and Ric Warren ahead of their Greyfield exhibition, on view now at House for an Art Lover.
The digital mini is a collection of sketches, photos and notes from a week-long collaborative residency at Inshraich Bothy, a small off-the-grid cabin located in the remote woodlands of the Cairngorms National Park, Scotland.
Printed in a limited edition of 100 copies, The Bothy Sketchbook is available for £5 from the exhibition venue (or can be posted on request).
Warren says: “As we both use drawing as way to process ideas, but rarely present them in exhibitions, we wanted to produce a publication to present these working sketches that have informed our exhibition and general interests.”
“The drawings and collages we produced at the bothy were quite experimental and partly respond to the limited recourse available in an off-the-grid cabin with no internet or power.”
“We decided to use Newspaper Club as we wanted to produce an informal publication that felt like a sketchbook/scrapbook to reflect the nature of its contents. We are very happy with the quality of print.”
The exhibition is supported by Glasgow International, Glasgow Life, The Bothy Project and House For An Art Lover. All photos here are courtesy of Ric Warren.
Learn more about our digital mini newspapers. The sweet size for magazines, brochures, and more – all nicely stapled, too.
Friday, April 15th 2016
Thursday, April 14th 2016
The Persistence of Type at the 2015 Tramway exhibition. Photo via Panel.
The Glasgow International festival is in full swing, with an excellent programme of contemporary art events happening throughout April. We’re excited to have printed newspapers for a few events this year, including a traditional broadsheet for The Persistence of Type.
Contributors include Maria Fusco, Georgia Horgan, Fiona Jardine, Mairi MacKenzie, Anna McLauchlan, Neil McGuire, Mhari McMullan, Lili Reynaud-Dewar and Maeve Redmond with Sophie Dyer.
The Persistence of Type Volume II is available to pick up at venues across Glasgow (see the full list) throughout Glasgow International, from 8-25 April 2016.
Learn more about our traditional broadsheet newspapers. Big enough to hide behind, with plenty of room to say everything you need to say. A proper newspaper, printed on a traditional press.
Wednesday, November 11th 2015
Over the summer, OSR Projects in West Coker invited artists to explore the natural landscape from within a plastic zorb, and to mark the inside of the structure with notes and drawings along the journey. We’ll let OSR Projects explain further:
Weather Station is a mobile pavilion for the collection of images, objects and ideas. An artist-led response to flooding and extreme weather, exploring the changing relationship we have with landscape and the natural world.
Cumulative rather than collaborative, the structure passes from one artist to the next, gathering traces of its journey through the streets, fields, and rivers of South West England.
Fire and Ice Creative designed the Weather Station (Part I) digital tabloid newspaper to accompany an exhibition of the Weather Station structure, alongside documentation of the journey it has taken so far. The exhibition also featured environmentally-focused work from each of the artists involved.
The free newspaper includes artists Jethro Brice, Simon Lee Dicker, and Alexander Stevenson, with photography by Georgina Conroy and Simon Lee Dicker.
Weather Station was most recently spotted in Weymouth–keep your eyes peeled for Part II. Thank you for printing with us!
Wednesday, October 28th 2015
The biannual journal Nat. Brut has a bone to pick with art and literary magazines—so they said, when they launched a Kickstarter campaign in 2014 to turn the offbeat digital magazine into an analog publication.
After two years online, Nat. Brut published their first print issue (on 100% recycled paper) earlier this year, the next stage in their master plan to become “the ONLY socially progressive, environmentally sustainable magazine that is obsessively committed to crafting a well-designed collection of interesting and engaging work from every corner of the creative universe and making it accessible to everyone!”
It’s a mouthful of a mission statement, but we’re on board.
Nat. Brut launched their first print issue, which happens to be Issue Five, in a bundle that also includes a traditional mini newspaper. SALE! is a concept piece, “an absurdist free-for-all with biting social critique.”
More from co-editor Axel Severs: “Part satire, part alt-lit experiment, SALE! is a humorous foray into print culture’s capitalist underbelly. Composed and designed entirely by editor Kayla E., this delightful lil’ pamphlet contains 30 pages of side-splitting fake ads and bogus products concocted by writers and artists such as Chris Ware, Alexis Wilkinson, Michael Kupperman, and Blythe Roberson.”
SALE! is available in the Nat. Brut online store and can be purchased on its own or as a bundle with Issue Five of Nat. Brut. You can follow Nat. Brut on Tumblr and Twitter. Free open submissions to the journal open in November.
Thank you for printing with us!
Learn more about our traditional mini newspapers. These booklet-sized newspapers are a great way to tell your story, with the vibrant colours that come from traditional newspaper printing.