Dear Librarians,
Printed Matter is excited to be able to offer one complete and one near-complete set of published work by Berlin-based artist Olaf Nicolai at the special price of $2,700 and $2500, respectively. An artist whose practice spans many disciplines, Nicolai has made books and other experimental publications an integral part of his projects for the past fifteen years.
Whether re-planting a forest to duplicate a 19th century landscape painting or creating a typeface to conform to the aesthetic principles discussed in a particular text, Nicolai is concerned with the personal and cultural resonance of surfaces. He is also interested in modes of presentation - from the traditional pedagogical displays in libraries and museums to the design of skate parks and tombstones.
His projects are nearly always collaborative in nature and often draw attention to the intellectual and artistic resources of others - and away from himself. His publications serve as both laboratories for and distillations of his often site specific and/or ephemeral projects and bring them to a wide and dispersed audience.
Printed Matter is lucky to have been involved with Olaf Nicolai since the beginning of his career (see http://printedmatter.org/news/news.cfm?article_id=184 for news about his recent exhibition with us) and we are delighted to be able to offer this collection of publications to two institutions that would profit from having the complete published work of one of the most dynamically interdisciplinary artists working today. The sets are not available anywhere else - all of the material comes to us directly from the artist and many of the early works are out of print. [Please note that only one of the two sets contains Material I - III and Hortus / Praparat] A detailed list of every item in the set follows. If you are interested, please contact Rachel Bers at [log in to unmask]
Olaf Nicolai. 30 Farben. [unpaginated], 23.5 x 28.5 cm., Paperback, glue bound, offset-printed, color, edition of 500, . Köln, Germany: Salon Verlag, 2000. Published on the occasion of the exhibition "Pantone Wall, Instrumented" at the Bonner Kunstverein, this book reproduces full sheets of color from the Pantone catalogue that inspired the exhibition and the traveling installation 30 Farben. Meant to be understood as a disposable variant of the installation, it places all the necessary elements at a reader's disposal to create his or her own design. The book comes with a CD of the soundtrack to the installation: six looped electronic pieces commissioned by the musician to rococo rot.
Olaf Nicolai. Bubblegram : A Street Surfing Painting. [24 p.], 18 x 13.5 cm, Paperback, sewn bound, offset-printed, color, edition of 1500, . Berlin, Germany: Die Gestalten Verlag, 2000. This book documents Olaf Nicolai's re-design and painting of a skate park at the Mehrerauerbrücke in Bregenz, Germany. Using the pre-existing elements of the park as a starting point, Nicolai surrounded the structures with colorful elliptical forms and paths to help beginners learning to skate. The suggestions of speech balloons and chewing gum bubbles are a playfully ironic reference: Bubblegram is a combination of the words "Archigram" and "bubblegum." The architects group Archigram was known in the sixties for its unconventional and utopian designs for urban spaces, which frequently cited aspects of everyday life, advertising, television, and comic strips.
Olaf Nicolai, Bernardo Giorgi. Denik. [unpaginated], 15 x 10.5 cm., Paperback, glue bound, offset-printed, color, edition of 300, . 2003. Olaf Nicolai presents a collection of pop culture events and personalities in this miniature tabloid artist's book assembled by Bernardo Giorgi's as part of his project "Between Dresden and Prague." Sex scandals, sporting events, sensational news, Andre Agassi, Brooke Shields, ABBA and many other universally appealing tabloid regulars are plastered over every page of the book. These are punctuated by replicas of Giorgi's ticket stubs, snapshots, and other souvenirs from a year and a half of travels stuffed in between the pages, like bookmarks.
The Diary is part of Nicolai's ongoing investigation into making a site-specific artwork. When he is invited to create a site specific work, he engages another person to play the role of himself. This doppelganger goes about the city in which the exhibition is to take place, collecting material that is then assembled into a diary under Nicolai' s name and the book is presented at the exhibition as Nicolai's work.
Olaf Nicolai. Die Gabe: Ehrste bis Zehnte Lieferung. Complete Set of first 10 [unpaginated] , 30 x 23 cm., Paperback, loose leaves, offset-printed, mixed, edition of 450, . Leipzig, Germany: Edition 931, 1993. An ongoing project formatted to mimic scientific supplemental publications that were popular in the 1920s. Nicolai invites guest editors, basing his choice entirely on his own personal relationship to their work, to propose an idea that will form the content of one supplement. His goal is to create an archive of interconnected thought, formed entirely on the basis of his own individual interest. The content of the contribution may be freely chosen, but must include a third element (a collaborator, a visual or textual quote, etc.) in order to further the goal of the project, which is to create a web of influence, in which Nicolai sits at dead center. Contributors receive all subsequent supplements. The edition sold here contains ten issues including contributions by Stephen Willats, Lawrence Weiner, and Micha Kuball. Much of the text is in German, with a few English translations.
Olaf Nicolai. Die Gabe: Ehrste bis Zehnte Lieferung. Set of 11-15 [unpaginated], 30 x 23 cm., Paperback, loose leaves, offset-printed, mixed, edition of 450, . Leipzig, Germany: Edition 931, 1993-2003. An ongoing project formatted to mimic scientific supplemental publications that were popular in the 1920s. Nicolai invites guest editors, basing his choice entirely on his own personal relationship to their work, to propose an idea that will form the content of one supplement. His goal is to create an archive of interconnected thought, formed entirely on the basis of his own individual interest. The content of the contribution may be freely chosen, but must include a third element (a collaborator, a visual or textual quote, etc.) in order to further the goal of the project, which is to create a web of influence, in which Nicolai sits at dead center. Contributors receive all subsequent supplements. The edition sold here contains five issues with orange covers Much of the text is in German, with a few English translations.
Olaf Nicolai, Carsten Nicolai. Die Neuaufteilung der Welt. 42 p., 33 x 21 cm., Board, sewn bound, offset-printed, mixed, . Gottingen, Germany: Kunstverein Gottingen, 1995. Edition of 800. Olaf Nicolai works with words, signs and symbols. His brother Carsten paints with watercolor using a similarly controlled symbolic language. Their collaborative work (translated as The New Division of the World) presents simple but multivalent collages of text and image. Comes with a pull-out hand drawn Mercator's Projection map of the world. Text by Frank Eckart in German.
Olaf Nicolai, Sandra, Hastenteufel, Jens Haaning. E.W.E.: exhibition without exhibition. 5 v. ([20], [16], [40], [14], [20]), Paperback, offset-printed, mixed, edition of 750, . Leipzig, Germany: Tilo Schulz, 1999. This exhibition catalog is for the Leipzip, Germany show entitled "e.w.e: exhibition without exhibition," in which the items that normally surround a show - postcards, posters, previews, publication and lecture tour details - become the center of attention. Artists Nathan Coley, Plamen Dejanov, Swetlana Heger, Jens Haaning, Sandra Hastenteufel and Olaf Nicolai each contribute a separate pamphlet to the catalog which collects them in a blue folded binder.
Olaf Nicolai. Ein Zeichenbuch für Kinder nach Motiven von Arnulf Rainer : A Colouring Book for Children after Motifs by Arnulf Rainer. [12] p., 30 x 21 cm., Paperback, staple bound, offset-printed, black-and-white, edition of 2,000, . 2002. For this mischievous coloring book, Olaf Nicolai excavates forgotten early minimalist design motifs from the Arnulf Rainer archive and introduces them to a population probably more baffled by their strict geometry than their parents are by the expressive experimental body of work the artist is known for.
Olaf Nicolai. Enjoy / Survive. [unpaginated], 23 x 18 cm., Softcover - Other, sewn bound, offset-printed, color, edition of 1,500, . Postsdam, Germany: Christain & Cornelius Rüss, 2001. The Swiss design agency, norm was commissioned to design this catalogue using only visual material from the exhibition Enjoy / Survive / Enjoy at the Migros Museum für Gegenwartskunst, Zurich. There is no descriptive text. It is the counterpart to the publication Reader, a purely textual take on the same exhibition which dealt with the cultural phenomenon of sampling.
Olaf Nicolai. Fading In, Fading Out, Fading Away. 89 p., 21 x 16.5 cm., Softcover - Other, glue bound, offset-printed, color, edition of 1,000, . Münster, Germany: Westfälischer Kunstverein Münster, 2001. This book was published on the occasion of Olaf Nicolai's exhibition Fading In, Fading Out, Fading Away at the Westfälischer Kunstverein Münster, December 2000 - January 200. In addition to installation photographs from the exhibition, the catalog contains a text by Susanne Gaensheimer on Nicolai's strategies of translation, an essay by Nils Plath, To Be Displaced, also about translation, and an essay by Martin Burkhardt, The Logic of the Hybrid.
Paul Scherbart, concept by Olaf Nicolai. Glasarchitektur. 127 p., 20.5 x 15.5 cm., Paperback, sewn bound, offset-printed, color, edition of 300, . Frankfurt am Main, Germany: Revolver, 2002. The German expressionist, architectural visionary, author, inventor, and artist Paul Scheerbart (1863-1915) wrote a well-known treatise Glass Architecture in which he strove to integrate his spiritual and romantic leanings with the modern world, often relying on glass architecture to do so. For this book, artist Olaf Nicolai has designed a font that visually invokes Scheerbart's ideas. Originally created for an exhibition, Museutopia, at the Karl Ernst Osthaus-Museum Hagen in Germany, the entire text of Glass Architecture is set in this colorful modular type. In German.
Olaf Nicolai. Hand Pflanze Schrift. 26 x 20 cm, Softcover, loose-leaves, black-and-white, edition of 300 Altenburg, Germany: Lindenau-Museum. 1994 Published on the occasion of the exhibition "Sammlers Blick" at the Lindenau-Museum as a supplement to the book Sammlers Blick, the eight pairs of tipped-in photos in the book juxtapose details of painted hands with photograms of leaves. The hands are details from early Renaissance paintings in the Lindenau-Museum's collection and the photograms were made from leaves found in the park where the museum is situated.
Olaf Nicolai. Sammlers Blick 100 p. 26 x 20 cm. Hardcover-Board, sewn, offset printed, color and black-and-white, edition of 1000, Altenburg, Germany: Lindenau-Museum. 1994 Published on the occasion of the exhibition "Sammlers Blick" at the Lindenau-Museum, this catalogue contains essays by Jutta Penndorf, Boris Groys, Frank Eckart, Duris Grünbein, Friederike Mayröcker, and Olaf Nicolai himself. It also contains color reproductions of the artist's collages of plant forms, images of other bodies of work and a biography of the artist.
Olaf Nicolai. Hortus / Präparat 21 x 17 cm., Softvover, staple bound, offset printed, black-and-white and color, edition of 600, Leipzig and Basel, Germany and Switzerland: Edition 931 and Galerie Fabian Walter. 1993 With an essay by Frank Eckart and black and white and color reproductions of collages of leaves and garden tools. *Please note: there is only one copy of this book. One of the sets will not contain it.
Olaf Nicolai / Ann Lislegaard. Inner Monologues Hidden Spaces. Munich, Germany:: S. Gaensheimer and M. Lind, 1998 Published on the occasion of a two person exhibition at the Kunstlerwerkstatt Lothringer Strasse, this book is part of the "Blind Date" series of collaborations between artists and curators organized by Susanne Gaensheimer and Maria Lind in which two artists meet in a specific site to develop works referring to each other. The book contains an essay from the curators, a transcript of a conversation between the two artists, photographs and sketches of the site as well as other artifacts of the collaboration.
Olaf Nicolai. Instructions : How to Produce a Site Specific Work Anywhere. Postcard 1, Other, color, Porto; Wein, Portugal; Austria: Olaf Nicolai, 2001; 2004. This instructional post card is published along with a "diary" at the end of each of Nicolai's site specific projects. The post card gives the same instructions that Nicolai himself follows in each instance of his ongoing investigation with the curatorial concept of site-specificity. A curator must first cast someone to play the role of Nicolai. This chosen person must then act as tourist in the town in which the exhibition is to be held, even if he is not a tourist. This person must collect documents of his activities and these documents then get made into a booklet or "Diary" published under Olaf Nicolai's name. The book becomes part of the exhibition, and the postcard is a document of the whole process as well as an invitation for others to participate.
Olaf Nicolai. Interieur/Landschaft. Leipzig, Germany: O. Nicolai, 1996. Edition of 500. Annotated texts from Edgar Allen Poe's "The Domain of Arnheim," and Kevin Kelly's "Out of Control" in German and English are interspersed with botanical motif wallpaper, silhouettes of actual specimens and photographs of nature..
Olaf Nicolai / Frank Eckart. Loyola: Ein Gespräch, Paperback, glue-bound, offset printed, black-and-white, edition of 1000, Leipzig, Germany: Edition Eigen + Art and Edition 931, 1992. Published on the occasion of the exhibition Loyolas Lager at Galerie Eigen + Art, this book presents the transcript of a conversation between Olaf Nicolai and Frank Eckart about Saint Ignatius of Loyola illustrated with images of tombstones that Nicolai had engraved with single words.
Olaf Nicolai. Nonnenstrasse 17-21. postcards 10 cards, Paperback, loose leaves, offset-printed, black-and-white, edition of 1000, . Leipzig, Germany: IGBK and Edition 931, 1994. The publications were created for the exhibition "Imaginäres Hotel," which took place on the former site of yarn works in Leipzig one month after its closure. Every visitor received a post card version. The pictures document the condition of the site in May/June 1994
Olaf Nicolai. Notizen. [144] p., 21 x 14 cm., Leatherette, sewn bound, offset-printed, monochrome, edition of 1000, . Rome, Italy: Villa Massimo Rome, 1998. Notizen appeared as a publication after a six month residency at at the Villa Massimo, the German Academy in Rome. Each recipient of a grant is given the opportunity to document the work he or she has created in a catalogue. Bound in white imitation leather, embossed in blue and featuring blue-lined India paper pages, Notizen is intended to be an object of use for the grant recipients and visitors to the Villa Massimo.
Olaf Nicolai. Olaf Nicolai. 56 p., 23 x 16 cm., Paperback, glue bound, color, edition of 1000, . Berlin, Germany: Galerie Eigen + Art, 2000. Essays by Raimar Strange, "The Fragrance of the Big Wide World. The Artistic Work of Olaf Nicolai; Thomas Spiess, "Odors in Science and industry"; and Frank Eckart, "On Smoke: Perfume" are gathered in this book published on the occasion of Olaf Nicolai's work "Smell: A fragrance for trees," a perfume he created to emanate from dispensers around trees. The book also reproduces Nicolai's installations of interior gardens, rooms wallpapered with botanical motifs and other projects that investigate the representation of nature in our culture.
Olaf Nicolai. Olaf Nicolai, Diário : Porto, 03.-10.06.2001. 32 p., 15 x 11 cm., Paperback, glue bound, offset-printed, color, edition of 200, . Porto, Portugal: Lello Editores, 2001. First in a series of books from Nicolai's project, "How to create a site specific work anywhere," in which the artist asks a curator to choose someone to be Nicolai's doppleganger. That person then acts as a tourist in the place where the exhibition is to be held. He (or she) documents his or her activities and this document is made into a diary and published as a work by Olaf Nicolai. The diary is presented as part of the exhibition.
Olaf Nicolai. Pflanze/Interieur. Leipzig, Germany: Hohenthal und Bergen, 1996. Edition of 1000. "The relationship of the interior to the exterior is one of the natural to the artificial, of fact and artifact. It is not one of exclusion or simple opposition, but rather much more of transitions and transformations." So says the artist at the outset of this book in which his projects using drawings, prints, and photographs of botanical specimens are contextualized by texts on gardens and collecting.
Olaf Nicolai. Pirate Edition. [1] p., 120 x 84 cm., Paperback, color, edition of 3000, . Werkleitz, Germany: Werkleit Biennale 2000, 2000. On the occasion of the Werkleits Biennale focusing on real [work], a tailor's workshop in the small town of Cable was commissioned to copy a suit by Prada and a shirt by Gieves & Hawkes for the artist. Advertisements for the companies from international fashion journals served as a model. Both patterns were distributed in the form of a leaflet, inserted in the weekend supplement of a regional newspaper. The suit became the property of the artist, and was worn during the exhibition's opening ceremony.
Olaf Nicolai, Carsten Nicolai. Projektor. 51 p., 24.5 x 19.5 cm., Board, sewn bound, offset-printed, black-and-white, edition of 1000, . Reutlingen, Germany: Städisches Kunstmuseum, 1997. This catalogue from brothers Olaf and Carsten Nicolai's exhibiton at the Städisches Kunstmuseum contains an introductory essay by Gerd Dieterich, the transcript of a discussion between Dieterich and the Nicolais, and images of the work in the exhibition which ranges from Rorschach-like ink blots to a large pane of glass sandblasted with a floral pattern leaning against a wall casting a shadow.
Olaf Nicolai. Reader. 497 p., 24 x 19 cm., Paperback, sewn bound, combination, edition of 200, . Leipzig, Germany: Spectormag GBR, 2001. Reader was developed in association with the magazine spector cut + paste, in the course of and in the context of the exhibition Favorites at the Gallery for Contemporary Art in Leipzig. Nine authors selected by Nicolai: Slavoj Zizek, Anne Von Der Heiden, Sascha Kösch, Barbara Steiner/Jan Winkelmann, Stefan Römer, Charles Esche, and Jan Wenzel were asked to assemble text extracts which would, when read together, give rise to further statements. Bound together with thread to form separate booklets and heat-sealed to in plastic film, the Reader allows a user to decide whether and how they will convert the ensemble into book form:by changing the order of the texts, removing or inserting passages, or creating an entirely new compilation.
Olaf Nicolai, Susanne Pfleger, editors. Rewind / Forward. 168 p., 26.5 x 21.5 cm., Paperback, sewn bound, offset-printed, mixed, edition of size unknown, . Ostfildern-Ruit, Germany: Hatje Cantz, 2003. This comprehensive catalogue of Olaf Nicolai's work from 1994 to 2004 reproduces elements of his projects stencils, maps, sheets of color, wood-grain, mylar, photos on vellum, and instruction cards to name just a few and inserts them into a collection of texts by the artist, about the artist or simply selected by the artist to illuminate aspects his work. At the back of this dynamic collection of highlights from Nicolai's colorful career is a thorough index of all of his work, an exhibition history and a bibliography.
Olaf Nicolai. Show Case. 48 p., 21 x 16 cm., Paperback, offset-printed, mixed, edition of 1500, . Nürnberg, Germany: Verlag Für Moderne Kunst Nürnberg, 1999. Show Case is a theoretical text-image essay on the performativity of perception.
Olaf Nicolai. Stamps. edition of 3000, New York, NY: Nicolai, 1998. Stamps was created for the first Berlin Biennial as a set of three blocks each containing four stamps. The design is based on traditional stamp series which give a stylized rendering of symbols, portraits or urban views. The "Logo" set includes the signets and labels of Berlin clubs. All the stamps of the "Person" set show the same picture: the eye of an anonymous person. The difference in value between the stamps is indicated by four colored fibers over the pupils. "Facade" reproduces shots of four facades in Berlin. During the exhibition, the stamps were sold at various locations in Berlin.
Olaf Nicolai. Stil Leben. [18 p.], 26.5 x 21.5 cm., Paperback, staple bound, color, edition of 1000, . Berlin, Germany: Olaf Nicolai, 2000. Each double page spread of this book divides the description of a situation into three categories: space, human, and object/tool. In "space," icons of 20th century architecture are mentioned. The "human" section contains descriptions of individuals in terms of the brand of clothing they are wearing, as in a fashion magazine spread. "Object/tool" contains lists of designer furniture, books, videos and CDs. The pages are perforated between categories so that individual elements can be separated and re-combined into new sets.
Olaf Nicolai. Tagebuch, Wien : 12-20 Juni 2004. [unpaginated], 15 x 10.5 cm., Paperback, glue bound, offset-printed, color, edition of 300, .Vienna, Austria: Olaf Nicolai 2004. The third in a series of books from Nicolai's project, "How to create a site specific work anywhere," in which the artist asks a curator to choose someone to be Nicolai's doppelganger. That person then acts as a tourist in the place where the exhibition is to be held. He (or she) documents his or her activities and this document is made into a diary and published as a work by Olaf Nicolai. The diary is presented as part of the exhibition.
Olaf Nicolai. Trees for Matches / Matches for Trees. [unpaginated], 25 x 10.5 cm., Paperback, accordion, offset-printed, color, edition of size unknown, . Scotland: Artists' Commissions, 2002. The project "Trees for Matches/Matches for trees" by Olaf Nicolai reflects the Scotish Forestry Commission's policy to "restructure" the forestation of certain areas so that the forests become more biodiverse and at the same time provide an appropriate infrastructure for employment and tourism.
To this end, a mature forest of Sitka Spruce has been cleared from a valley in the Trossachs and the timber used to produce storm matches. For each tree used to produce the matches, two young trees, either Birch or Scots Pine, are planted in their place ultimately creating a new, re-designed native forest. The sale of the matches initiates an economic exchange which directly affects the landscape. It marks the countryside as a distinct space affected by the logic of consumption.
This fold-out book of postcard views comes with a box of matches and shows the valley before it was clear cut and in several stages of its subsequent re-forestation.
Olaf Nicolai / William Cowper, Die Aufgabe : The Task. Berlin, Germany Into this 1998 translation by Wolfgang Schlüter of William Cowper's 1784 six volume work, The Task Olaf Nicolai has inserted his own drawings on graph paper of colorful and fanciful plant life. The cover is also hand painted by Nicolai.
Olaf Nicolai, Material (I-III), Leipzig, Germany: Edition Eigen + Art / Edition 931.. Edition of 1000 A set of three books, "Lection: Materialien, Fündstücke," "Deprt : Ein Entwurf," and Magische Töpfe : Materialien, Varianten und Ein Bild," filled with collages, drawings, notes and photographs which act as interpretive archives of each book's given topic. *Please Note: only one copy of this exists. One of the two sets we are offering will not contain it.
Olaf Nicolai, Inschrift Leipzig, Germany: Edition 931.1995. Edition of 500. This book documents an installation of text in a public space in Leipzig with architectural plans, photographs of the installation and an essay by Jean-Luc Nancy: Schrei(b)en in German.
Olaf Nicolai
Tableau/Speiche, Leipzig, Germany: Edition 931. 1994 Edition of 1000. A catalogue, written in German, documenting a project in which Olaf Nicolai employed the conventions of writing on gravestones to create monuments to single words.
Olaf Nicolai, Nonnenstrasse 17-21: 10 AnsichtenLeipzig, Germany: Herausgegeben / Edition 931. 1994. Edition of 400 The publications were created for the exhibition "Imaginäres Hotel," which took place on the former site of yarn works in Leipzig one month after its closure. Every visitor received a post card version. The pictures document the condition of the site in May/June 1994. In addition an album was published into which the postcards could be stuck. For each picture there is a text which describes the given space with reference to its function and history. After the exhibition, the site underwent radical changes so that this documentary record alludes to memories in two ways - to a memory that was present at the time of the publication, and to a future one, relating to the publication itself which is no longer able to distinguish between the fictional and the documentary.
Olaf Nicolai, The Blondes Amsterdam, Netherlands: Artimo. 2005. Edition of 500 The Blondes brings together a series of 42 portraits taken during Nicolai's 2003 project, Blond which established a hairdressing salon (open for one month) that offered customers to free hair bleaching. Instead of the usual advertisements for hair products, photos of existing art works involving blondes (by Andy Warhol, Vanessa Beecroft, Karen Kilimnik, Douglas Gordon and many others) were on display at the salon. The only conditions of the offer were that the customers had to agree to be photographed before and after their hair was dyed. The "after" photographs make up this book.
Olaf Nicolai, Privacy, Much Hadam, England: The Henry Moore Foundation. 2004. This envelope contains promotional material, essays, posters, transcripts, recordings of radio programs, screening schedules, photographs, stickers and other ephemera from a week long project carried out by Olaf Nicolai and members of the Protoacademy in Edinburgh in 2004. Devised by Jonathan Ashworth, Bryan Davies, Steve Duval, Ross Kemsley, Karen Loughridge, Laura Quarmby, Matias Ring, Paulina Sandberg,and Julia Schnabel in conversation with Olaf Nicolai, the program engaged questions concerning the psychology of privacy, surveillance, celebrity and an individual's need for actual and mental private spaces. Symposia took place at various sites around Edinburgh
Olaf Nicolai. Varna : 21 -27 March 2005. [unpaginated], 15 x 10.5 cm., Paperback, glue bound, offset-printed, color, edition of 300, Varna, Bulgaria: Olaf Nicolai. 2004. The fourth in a series of books from Nicolai's project, "How to create a site specific work anywhere," in which the artist asks a curator to choose someone to be his (Nicolai's) doppelganger. That person then acts as a tourist in the place where the exhibition is to be held (in this case Varna, Bulgaria.) He or she documents his or her activities and this document is made into a diary and published as a work by Olaf Nicolai. The diary is presented as part of the exhibition.
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Rachel Bers
Programming / Website Coordinator
www.printedmatter.org
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Printed Matter, Inc. is an independent 501(c)(3) non-profit organization founded in 1976 by artists and art workers with the mission to foster the appreciation, dissemination, and understanding of artists' books and other artists' publications.
Printed Matter, Inc. has received support, in part, through grants from the New York State Council on the Arts, the New York City Department of Cultural Affairs, Altria Group, Inc, the Milton & Sally Avery Arts Foundation, the Canadian Consulate General and the Government of Canada, The Cowles Charitable Trust, the CRH Foundation, Foundation for Contemporary Arts, The Gladys Krieble Delmas Foundation, the Fifth Floor Foundation, The Horace W. Goldsmith Foundation, LEF Foundation, Materials for the Arts, The Peter S. Reed Foundation, the Schoenstadt Family Foundation, The Starry Night Fund, The Roy and Niuta Titus Foundation, The Andy Warhol Foundation for the Visual Arts, and private foundations and individuals worldwide.