ABOUT CABCThe eighth annual Contemporary Artists’ Books Conference (CABC) presents two full days of lively debate on emerging practices and issues within art-book culture. This year’s conference will feature a keynote address by the artists Walead Beshty and Liam Gillick on the occasion of the publication of the volume Ethics in Whitechapel’s Documents of Contemporary Art series (MIT Press 2015), which was edited by Beshty, and for which Gillick was a contributor. With this volume as a backdrop, they will discuss both their work and critical writing in relation to the broad network of relations that contemporary art traffics within, and the centrality that systems of distribution and the social field have come to play in its reception.

Additional conference sessions will include panel discussions on such topics as activism, archives in photobooks, recordworks, and instruction sets and recipes.

Admission is free for all sessions, but space is limited. General admission is first-come-first-seated. Sessions are held in the lower level auditorium.

The Conference is organized by the CABC Committee, a national group of art library professionals. Funding for the Conference is supported by generous donations from Phil Aarons, Peter Norton, the Art Libraries Society of New York and others.

CABC COMMITTEEStephen Bury, Frick Art Reference Library
Matthew Carson, International Center for Photography Library
Deirdre Donohue, International Center for Photography Library
Ryan Haley, New York Public Library
Milan Hughston, Museum of Modern Art Library
Deirdre Lawrence, Brooklyn Museum Library
James Mitchell
Lindsey Reynolds, Birmingham Museum of Art
Sara Rubinow, New York Public Library
Lori Salmon, New York Public Library
David Senior, Museum of Modern Art Library
Susan E. Thomas, Long Island University Brooklyn Library
Jennifer Tobias, Museum of Modern Art Library
Tony White, Watson Library at the Metropolitan Museum of Art


For the past several years the Conference has commissioned a new artists’ book as part of its program. Previously commissioned artists include James Hoff, Eve Fowler, Dexter Sinister, David Horvitz, Triin Tamm, and Emily Roysdon, and the “assembled magazine” Adventures, produced by Aaron Flint Jamison.

Sales of the book help to support free admission to the Contemporary Artists’ Books Conference for all visitors.

For more information, call (212) 925-0325.


1:30-2:55 Animating Archives in Photobooks
Archives and photography have always had a dynamic relationship and the using of an archive as a narrative structure has been an increasing phenomenon in photobooks in recent years. Archives are often moribund if not banal, but once they are launched into motion by the actions of artists they come alive with almost endless possibilities and permutations. The photo-based artists’ use of the archive is often fragmentary, allusive and at times even poetic. In this session we explore the restructuring of the archive in the work of the artist Susanne Kriemann and the London based group the Archive of Modern Conflict.  Organized by Matthew Carson and moderated and introduced by Bernard Yenelouis. Presenters include Susanne Kriemann (Berlin) and Kalev Erickson (London). Organized by Matthew Carson. Moderated by Bernard Yenelouis.

3:15-4:40 The Revolution Will Be Printed
This session explores the role of artists’ publications and printed matter in social practice and community engagement, as politically and culturally charged transactional objects, and as relevant to contemporary activism. Panelists include Clara Lobregat Balaguer (Philippines) and Steffani Jemison (New York). Moderated by Lori Salmon. Organized by Sara Rubinow.

5:00-6:00 Show & Tell
In this year’s lightning round, invited speakers will present one book of their choosing in no more than four minutes. A video overhead projector will be used so that the books can be presented directly and spontaneously. If time permits, the floor will then be opened to audience members to present one book each. Guest speakers include Stephen Bury, Dan Fox, Maya Harakawa, Megan Liberty, Lauren O’Neill-Butler, and Hrag Vartanian. Organized by Tony White and James Mitchell.

SATURDAY, SEPTEMBER 1912:00-1:30 Artists’ Records and Recordworks
Artists’ records or recordworks may seem like an odd subject for an artists’ book conference, yet they are increasingly sold at art book fairs and in art book stores. When they are found in art galleries, they are sold alongside books and multiples, and when they are found in libraries, they are found in art libraries, not music libraries. Artists’ records and recordworks are multiples in large or small editions, signed or unsigned, numbered or not, but they are almost always affordable. Recent ones have functioned as alternative exhibition catalogs. Historical books on the subject include The Record as Artwork: 1959-1973 (1973) by Germano Celant and Broken Music: Artists’ Recordworks (1989), edited by Ursula Block and Michael Glasmeier. Speakers will give presentations about aspects of contemporary artists’ records and recordworks: Matthew Higgs, artist, curator and director of White Columns, will talk about artists and music as well as The Sound of White Columns (TSoWc), the gallery’s record label. Art historian and writer Francesco Spampinato will discuss his new book Can You Hear Me? Music Labels by Visual Artists, and artist Pieter Schoolwerth will talk about the relationship between Wierd Records, his record label, and his larger art practice. Susan Thomas, librarian and session organizer, will introduce the session by providing examples of artists’ recordworks as artists’ books and alternative publications. Discussion and audience Q & A will follow.

2:00-3:30 Furthering the Critical Dialogue  
This session, in its eighth year, continues with a key theme from all previous conferences: the state of artists’ books criticism. Exemplifying diverse approaches to criticism, speakers will discuss selected books by Veronika Schapers, with a special focus on her book: 26°57,3’N, 142°16,8’E. Panelists will not discuss the ‘state of artists’ books criticism,’ per se, but instead will focus on engaging in a critical evaluation and discussion of books by this book artist. Panelists: Peter Koch, Printer, Author, and Director of the Codex Foundation; Mark Dimunation, Head of Rare Books & Special Collections, Library of Congress; and Lynn Maliszewski, writer and curator. Moderator: Tony White, Metropolitan Museum of Art.

4:00-5:30 Instruction Sets and Cookbooks
The session explores relationships between performance and text by comparing classic conceptual strategies with the idea of the recipe or cookbook. Speakers will consider artists’ books by practitioners such as Sol LeWitt, Yoko Ono and other Fluxus members, feminists, and emerging artists. How do instruction sets and performance scores relate to the culinary recipe? How does contemporary practice compare to earlier examples like “The Futurist Cookbook”? Is the inedible or unmakeable central to this approach? How do these relate to contemporary interest in social practice and performance? Colby Chamberlain will report on his research concerning George Maciunas; and Béatrice Gross will address Sol LeWitt’s wall drawings in relation to his publications. Speakers: Colby Chamberlain, Berin Golonu, and Béatrice Gross Moderators: James Mitchell and Jennifer Tobias.

6:00-7:30 Keynote: Walead Beshty and Liam Gillick
This year’s conference features a keynote address by the artists Walead Beshty and Liam Gillick on the occasion of the publication of the volume Ethics in Whitechapel’s Documents of Contemporary Art series (MIT Press 2015), which was edited by Beshty, and for which Gillick was a contributor. With this volume as a backdrop, they will discuss both their work and critical writing in relation to the broad network of relations that contemporary art traffics within, and the centrality that systems of distribution and the social field have come to play in its reception.



PARTICIPANTSClara Lobregat Balaguer is the director of The Office of Culture and Design, a platform for social practice projects in culturally underserved communities in the Philippines. In 2013, Balaguer co-founded the editorial and design house Hardworking Goodlooking with Filipino-American graphic designer, Kristian Henson. Balaguer was the youngest directorial board member for the international design NGO, Design for the World (2007–09), and currently sits as board trustee and executive director of Class Act Foundation, an organization that builds schools in post-disaster areas of the Philippines.

Walead Beshty (b. 1976, London, UK) is an artist and writer working in Los Angeles, and Associate Professor in the Graduate Art Department at Art Center College of Design. He has had solo exhibitions at such institutions as the Barbican Centre, London; Ullens Center for Contemporary Art, Beijing; Malmö Konsthall, Sweden / Centro de Arte Dos de Mayo, Madrid; The Hirshhorn Museum, Washington D.C.; Hammer Museum, Los Angeles; and P.S.1 Contemporary Art Center, Long Island City. His work was included in the 2015 Venice Biennale, 2012 Shanghai Biennial, 2009 Tate Triennial, and 2008 Whitney Biennial. Beshty’s work is held in permanent museum collections worldwide, including the Guggenheim Museum, New York; the Hammer Museum, Los Angeles; Los Angeles County Museum of Art; the Museum of Contemporary Art, Chicago; the Museum of Contemporary Art, Los Angeles; the Museum of Modern Art, New York; Victoria and Albert Museum, London; and the Whitney Museum of American Art, New York, among others. Monographs on his work include, Walead Beshty: Selected Correspondences 2001–2010 (Damiani Editore, 2010), and Walead Beshty: Natural Histories (JRP|Ringier, 2011/2014). Beshty writing has appeared in Texte zur Kunst, Afterall Journal, Artforum, Aperture, Art Review, Parkett, Dot Dot Dot, and The Exhibitionist, in addition to numerous catalogs and anthologies. Beshty edited the anthology Ethics, in Whitechapel’s Documents of Contemporary Art series (MIT Press, 2015), and his collected writings will be published in the Fall of 2015 by JRP|Ringier. He is represented by Regen Projects, Los Angeles; Petzel, New York; Thomas Dane Gallery, London; Galerie Rodolphe Janssen, Brussels; Galerie Eva Presenhuber, Zurich; and Capitain Petzel, Berlin.

Colby Chamberlain is a doctoral candidate in art history at Columbia University. The recipient of a Jacob K. Javits Fellow, a Helena Rubinstein Fellowship at the Whitney Independent Study Program, and the 2011 College Art Association Art Journal Award, he is currently completing his dissertation, “George Maciunas and the Art of Paperwork.” He is a senior editor for the online magazine Triple Canopy and a contributor to publications including Art in America, Artforum, Cabinet, and Parkett.

Mark Dimunation was appointed Chief of the Rare Book and Special Collections Division, Library of Congress in March 1998. As Chief, Mr. Dimunation is responsible for the development and management of the Rare Book Collection, the largest collection of rare books in North America. He acquires materials, develops programs of lectures and presentations, and oversees the operations of the Division. He specializes in 18th and 19th century English and American printing and has considerable experience working with antiquarian materials as well as fine press and contemporary artists books. He has lectured extensively about book collections and has authored a number of exhibition catalogs. He is a member of the Grolier Club, IFLA, the ESTC Board, and RBMS.

Liam Gillick (1964) is a British artist who studied fine art at Goldsmiths College, London, graduating in 1987. Gillick is part of the generation of artists who gave art a new impetus in the late 1980’s and early 1990’s. Liam Gillick deploys multiple forms to expose the new ideological control systems that emerged at the beginning of the 1990s. He has developed a number of key narratives that often form the engine for a body of work. McNamara (1992 onwards) Erasmus is Late & Ibuka! (1995 onwards) Discussion Island/Big Conference Center (1997 onwards) and Construction of One (2005 onwards). Gillick’s work exposes the dysfunctional aspects of a modernist legacy in terms of abstraction and architecture when framed within a globalized, neo-liberal consensus. His work extends into structural rethinking of the exhibition as a form. In addition he has produced a number of short films since the late 2000s which address the construction of the creative persona in light of the enduring mutability of the contemporary artist as a cultural figure. Margin Time (2012) The Heavenly Lagoon (2013) and Hamilton: A Film by Liam Gillick (2014). Gillick is currently completing a book on the genealogy of the contemporary artist titled Industry and Intelligence: Contemporary Art Since 1820 for Columbia University Press. Liam Gillick held his first solo exhibition at Karsten Schubert Gallery in London in 1989. Gillick’s work has subsequently been included in numerous important exhibitions including documenta and the Venice and Berlin Biennales – representing Germany in 2009 in Venice. Solo museum exhibitions have taken place at the Museum of Contemporary Art in Chicago, the Museum of Modern Art in New York and Tate in London. Gillick’s work is held in many important public collections including the Centre Pompidou in Paris, the Guggenheim Museum in New York and Bilbao and the Museum of Modern Art in New York. Over the last twenty five years Gillick has also been a prolific writer and critic of contemporary art – contributing to Artforum, October, Frieze and e-flux Journal. He is the author of a number of books including a volume of his selected critical writing. High profile public works include the British Government Home Office (Interior Ministry) building in London and the Lufthansa Headquarters in Frankfurt. Throughout this time Gillick has extended his practice into experimental venues and collaborative projects with artists including Philippe Parreno, Lawrence Weiner and Louise Lawler. He lives and works in New York City.


Berin Golonu is a doctoral candidate in Visual and Cultural Studies at the University of Rochester where she is completing her dissertation on the relationship between visual culture, print media, economic development and land management in the transition from the Ottoman Empire to the Turkish Republic. Along with co-editors Candice Hopkins and Marisa Jahn, Golonu worked on a book project titled Recipes for an Encounter (Vancouver: Western Front Editions, 2010). The book was presented as an exhibition at Dorsky Gallery in Long Island City (2010). Prior to returning to graduate school, Golonu served as Associate Curator at Yerba Buena Center for the Arts (2003-2008) where she realized twelve group exhibitions. One of these exhibitions, “The Zine UnBound” (2005) grew out of her master’s thesis, which focused on the artist’s produced publication as a site of inter-cultural and inter-disciplinary encounters. Golonu’s feature articles and reviews have appeared in various national and international arts publications including Afterimage, Aperture, Art in America, Art on Paper, Art Papers, Frieze, Modern Painters, Sculpture and Third Text. Her dissertation research has been supported by grants and fellowships from the Susan B. Anthony Institute for Gender and Women’s Studies (2010-2012), Darat Al Funun Foundation (2013), the Getty Research Institute (2013), and the University of Rochester’s Graduate Dean’s Office (2014).

Béatrice Gross is an independent curator and art critic based in New York. She is currently preparing an exhibition of the LeWitt Collection at The Drawing Center (NY) in collaboration with Claire Gilman, Senior Curator; and is Editorial and Curatorial Advisor at Mémoire Universelle (Brussels), an experimental book series functioning as a subjective, thematic encyclopedia. Recently, Gross has guest curated Double Eye Poke. Lynda Benglis, Dan Flavin, Sol LeWitt, Bruce Nauman, a group exhibition at kamel mennour (Paris). She has also organized a series of Sol LeWitt and LeWitt Collection exhibitions, as Adjunct Curator at Centre Pompidou-Metz (France), and Guest Co-Curator at M-Museum Leuven (Belgium) and Museo di Madre, Naples. She is the Editor of Sol LeWitt’s newest monographic book published by Centre Pompidou-Metz Editions (2012), and served between 2013 and 2015 as Editor of Sol LeWitt Wall Drawings Catalogue Raisonné (Artifex Press, NY). Her latest publications include: “The Invisible Man. From Skepticism to Paranoia: A Brief Survey of Predators, Photography, and the Birth of Modern Camouflage,” essay in Mémoire Universelle, vol. II “Manimalisme” (Brussels: MU, 2014); “From Icon to Text and Back Again: Ines Lechleitner’s Metamorphoses,” essay in Ines Lechleitner. The Imagines (Berlin: Sternberg Press, 2014); “Sol LeWitt and the (Re-)Birth of Wall Drawing,” essay inAuf Zeit/For the Time Being, exh. catalogue (Staatliche Kunsthalle Baden-Baden/Kunsthalle Bielefeld/Verlag der Buchhandlung Walther König, 2013).Matthew Higgs is an artist and curator based in New York. Since 2004 he has been the director of White Columns. At White Columns he launched the record label ‘The Sound of White Columns’ which releases vinyl-only recordings by artist-musicians and musician-artists. Releases include works by Kim Gordon, Karl Holmqvist, Meredith Monk, Malcolm Mooney, and David Robbins among others. The next release – in fall 2016 – will be by Richard Hell. As a teenager in the late 1970s and early 1980s Higgs published a music fanzine in his native England entitled ‘Photophobia’ for which he interviewed bands such as The Fall, Section 25, and The Cure. Recent curatorial projects include a solo exhibition of Bill Lynch’s work at Tanya Leighton, Berlin, 2015; and a survey exhibition of Judith Scott’s work at the Sackler Center for Feminist Art at the Brooklyn Museum, 2014/15 (co-curated with Catherine Morris.) He will have an exhibition of his own work at Murray Guy, New York in 2016.

Steffani Jemison uses time-based, photographic, and discursive platforms to examine “progress” and its alternatives. Her publishing project, Future Plan and Program, commissions literary work by artists of color. She was a 2013 Tiffany Foundation Biennial Awardee and a 2014 Art Matters Grantee. Jemison’s work has been featured in national and international exhibitions. She is an artist-in-residence at Smack Mellon and teaches at both The Cooper Union and Parsons The New School for Design. Jemison is currently based in Brooklyn.

Peter Rutledge Koch, designer, printer, artist, and author, founded Montana Gothic: A Journal of Poetry, Literature & Graphics, Black Stone Press, and a letterpress printing office in 1974. Since the dissolution of Black Stone Press in 1983 he has published under numerous imprints named to suit different facets of his work: Peter Koch, Printers; Hormone Derange Editions; and Editions Koch. In 2005 he created the CODEX Foundation to preserve and promote the arts of the book and is currently director of the CODEX International Book Fair and Symposium. From 1991 to 2011 he taught the history of the book as a work of art at University of California Berkeley. His books and artworks have been the subject of exhibitions at The New York Public Library, The San Francisco Public Library, The Widener Library at Harvard University, The Yellowstone Art Museum, and The University of
Montana Art Museum.

Susanne Kriemann is an artist working and living in Berlin.  In 2010, she was awarded the GASAG Art Prize and a solo exhibition at Berlinische Galerie, where she presented material from her extensive series ‘Ashes and broken brickwork of a logical theory’. Her work ‘A silent crazy jungle under glass’ was shown in 2011 at Kunsthalle Winterthur in Winterthur Switzerland. Her shows include ‘Modelling (Construction School)’, ‘Tea with Nefertiti’ and ‘The Way of the Shovel’. In 2014 she was nominated for the Kunstpreis der Böttcherstrasse at the Kunsthalle Bremen. Susanne Kriemann is an advising researcher at the Jan Van Eyck Academy in Maastricht, the Netherlands, where she is continuing her exploration of the power of archives. She incorporates her own photographs with those she has extracted from the vaults of the past, creating works that are not only visually associative but also contextually related, so that a many-layered narrative begins to appear when viewing her projects. Her complex series of photographs are often also published as artist books, which are testaments to her overarching concern with historiography—how history is written, read, and rewritten—and the connections that can be found between art, literature, and archaeology.

Lynn Maliszewski is a writer and curator researching artist’s books and zines. She has reviewed exhibitions and books for The Brooklyn Rail, ArtNews, Whitehot Magazine, and, among others. Most recently, Maliszewski curated The Veil of Dreams, a collaborative exhibition focused on the shared psychic and written space of Jesse Bransford and Max Razdow at IDIO in Brooklyn, New York. She is currently a student at the Center for Curatorial Studies at Bard College.

Pieter Schoolwerth is a painter and filmmaker living and working in Brooklyn. His work explores the ways in which the ever-changing forces of abstraction in the world effect the task of representing the human body. Over the past year he presented solo exhibitions in Detroit, New Delhi, and New York, and premiered a new film entitled Your Vacuum Sucks made in collaboration with Alexandra Lerman. From 2003-2013 Schoolwerth ran Wierd Records and the Wierd Party at Home Sweet Home on the LES of NYC. Wierd released music by 42 bands working in the genres of minimal electronics, post-punk, and noise and produced over 500 live music, dj, and performance events internationally.

Francesco Spampinato is a New York-based contemporary art and visual culture historian and writer. He is Adjunct Professor at Rhode Island School of Design (RISD), Providence, and Ph.D. candidate in Arts et Média at Sorbonne Nouvelle, Paris. He is the author of Come Together: The Rise of Cooperative Art and Design, Princeton Architectural Press, New York (2014) and Can You Hear Me? Music Labels by Visual Artists, Onomatopee, Eindhoven (2015).