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The Shins: Downtime @ Ampersand
Downtime is a collection of over 70 Instagram photographs shot by various members of the band & crew during their recent summer tour. Ampersand designed & oversaw the production of the book. It was great working with James Mercer on this publication, one that argues against the assumption that Instagram photos are somehow not worthly of publication outside the digital realm. —Myles Haselhorst
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Vintage Snapshots @ Ampersand
Finding & selling vintage snapshots has long been the backbone of our business. We believe that a collection of found photos, deliberately selected & organized, provides a compelling account of the visual language of life. Such photographs offer a glimpse into a past that is recognizable yet utterly different from what we daily experience. This moment of recognition serves as an entrance point, and beyond that the space the photograph opens up to the movements of our imagination and the stirrings of a creative impulse. —Myles Haselhorst
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Folding Space/Pressing Time by Dan Gluibizzi & Zefrey Throwell @ Ampersand
Folding Space/Pressing Time, our most recent publication, was published on the occasion of an exhibition at Ampersand by Gluibizzi & Throwell titled "There is no finish line." Similar to the show stylistically, the book is a stand-alone conceptual exploration in which Gluibizzi vibrantly distorts sexually charged Tumblr archive grids & Throwell gives photographic form to the erotic chaos that plagues his recurring dreams of time travel. Designed to be read in opposing directions for each artist, the book is a two-in-one, front-to-back or up-and-down distortion of what we commonly think of as a typical visual reading experience. —Myles Haselhorst
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Agnes Martin edited by Lynne Cook @ Ampersand
Agnes Martin has long been a favorite aritst of mine. Apects of her life, persona & artistic output no doubt influence our curatorial efforts at Ampersand. Surprisingly, there are few books on her work in print. This compact edition offers a perfect blend of her art, writings, biographical information & critical assessments of her work. —Myles Haselhorst
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Original handbill for the first New York performance of John Cage's 4' 33'' by David Tudor at the Carl Fischer Concert Hall in 1954 @ Division Leap
Arguably one of the most important musical performances of all time, it had a lasting impact not only on music but also on conceptual art. The handbill is beautifully and simply designed, delineating each movement of 4'33 with typographical grace reminiscent of Mallarme. —Adam Davis
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Kampfreime by Uwe Wandrey @ Division Leap
Perhaps the first book ever to be designed as a weapon. Kampfreime is a collection of rhymed chants meant for use during the 1968 protests of the German Student Movement. The sharp fore edge of both of the aluminum boards extend about a quarter of an inch past the fore edge of the text. The curve of the upper board rests sturdily on the palm, and the lower board, which juts further out, is buttressed against the metal base. My theory is that this was done so that the metal boards can’t recoil backwards and cut into one’s palm if the book is used to strike an attacker. As elegant as the design of Kampfreime is, it is difficult to imagine that it was ever of much practical use against a baton, or a gun. The lasting power of Kampfreime is as a metaphor. A talisman to protect the bearer and a text designed to destroy other texts. As such it is one of the most provocative and overlooked artist’s books of protest in the 20th century. —Adam Davis
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144 Blocks & Stones by Carl Andre (1973) @ Division Leap
This artist's book was issued as a catalog for Andre's early exhibition at the important and groundbreaking Portland art space, the Portland Center for the Visual Arts, which was recently the subject of an exhibition at the new art space YU. Andre's exhibition consisted of 144 locally scavenged river stones (rumor has it from the Sandy River), each placed on a concrete block. During its lifetime, PCVA accomplished an awe-astonishing program on a relatively small budget, aided in part by the artists themselves. For this exhibition, each separate piece was sold, with proceeds to the institution. A landmark exhibition not only for Andre, but also for the history of conceptual art in Portland. —Adam Davis
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Third Spectral Cannon: For Chris Ashby by James Yeary @ Division Leap
Portland poet James Yeary is the editor of Canned Lumen, the mysterious little magazine that proves that the spirit of the Mimeograph Revolution is alive and well in Portland. His work somehow manages to be slippery and numinous and colloquial all at the same time. Someone once described the experience of reading his work to me as: "like falling repeatedly on a pile of rolling logs, or you were so busy hanging over the bow of your little boat watching the beams of light play beneath the surface of the lake you didn't realize your boat was sinking until your socks got wet." One of a limited edition of 75 copies. —Adam Davis
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Framed Marcel Duchamp Wire Service Obituary from 1968 @ Monograph Bookwerks
The original wire service obituary for Duchamp from the New York Times, sent over the wire on the day of his death, October 2, 1968, and running over six feet in length. The work is appropriately Duchampian as a found object. —Blair Saxon-Hill
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Alex Vervoordt's Epic Three Volume Trilogy of Exhibitions @ Monograph Bookwerks
Academia, In-Finitum, and Artempo, where he installed objects, antiquities, archaeological items, works from Old Masters, and unknown craftsmen alongside the 20th century's most daring contemporary artists in venues in Paris and Venice. —Blair Saxon-Hill
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First Edition of Ed Ruscha's "Various Small Fires and Milk" @ Monograph Bookwerks
One of only 400 copies, a rare first edition of Ruscha's 1964 artist book, in which he presents straightforward photographs of various small fires (a match, a stove burner) and a photograph of a glass of milk. —Blair Saxon-Hill
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Keiko Narahashi Ceramics @ Monograph Bookwerks
Contemporary New York artist Keiko Narahashi's halved ceramic vase forms consider the truth and vision through the collapse of two and three dimensions. Her sculptural clay works are drawn from her silhouette ink paintings. When the resulting clay silhoutte is rotated, what appears as a flat 2-D form becomes a fully engaged 3-D object in space. —Blair Saxon-Hill
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Nikki McClure 2013 Calendar, "Prepare" @ Reading Frenzy
Nikki McClure is an Olympia based paper cut artist. She had her first solo show in Portland at Reading Frenzy in 1997, and last year the Museum of Contemporary Craft held a retrospective of her work. Nikki's calendar, featuring a dozen images accompanied by one or two word reminders meant to help the reader be mindful of the passing months and seasons, has been an annual tradition at the shop since 2000. —Chloe Eudaly
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Significant Objects: 100 Extraordinary Stories About Ordinary Things @ Reading Frenzy
Co-editor Joshua Glenn put out a great zine in 1990s devoted to philosophy and cultural criticism called Hermenaut. For Significant Objects, he and Rob Walker purchased 100 objects second hand and then commissioned 100 contemporary authors, including the likes of Jonathan Lethem and Colson Whitehead, to write fictional stories about them, based on the hypothesis that: "Stories are such a powerful driver of emotional value that their effect on any given object's subjective value can actually be measured objectively." Then they sold them on Ebay using the story as the description, making almost $8,000 for the 100 objects they bought for an average of $1.25 each. —Chloe Eudaly
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Uppercase Magazine: A Magazine for the Creative and Curious #15 @ Reading Frenzy
Uppercase is a beautifully produced magazine out of Calgary, Alberta, devoted to illustration, design, and other applied arts. Each issue is driven by a theme. This one is "creative specimen" and explores the creative side of science with features on vintage children's science and nature book illustrations, Paxton Gate, and space age textile technologies. As you might imagine, Portland artists and designers pop up quite frequently. —Chloe Eudaly
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Incandescent: A Color Film Zine #2 @ Reading Frenzy
Locally published, Incandescent is one of a handful of zines and small magazines I’ve seen recently devoted to film photography. This beautiful, full-color, bi-annual zine is published by a "photo-based artist collective" and features emerging photographers from around the country. —Chloe Eudaly
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