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REVISITING PRINT STUDIO: MISCELLANEOUS UNCATALOGUED MATERIAL

May 1, 2012  |  Library and Archives, Print Studio
Revisiting Print Studio: Miscellaneous Uncatalogued Material

EXTRA! EXTRA! Hot off the presses! EXTRA! EXTRA! Read all about it! Publications available at MoMA!

Detail from the Triple Canopy publication Volume Number 2: Miscellaneous Uncatalogued Material, designed by Tiffany Malakooti, featuring an image adapted from Marcel Duchamp, Henri-Pierre Roché, and Beatrice Wood's 1917 publication The Blind Man.


During its run, Print Studio hosted three public programs organized by the online magazine Triple Canopy. These were part of a series called Miscellaneous Uncatalogued Material that explored “the evolution of print-based artwork in recent decades, from the revival of traditional techniques to the employment of new digital technologies.” For these, artist David Horvitz, author Ariana Reines, and bookmaker, artist, and set designer Sarah Crowner selected works in MoMA’s collection and led discussions with a keen group of participants. Programs began in Print Studio and the surrounding classrooms, and took participants to MoMA’s galleries, the Library and Archives, and even The Abby Aldrich Rockefeller Sculpture Garden. After some close looking at objects in the collection, participants were led in discussions that explored various facets of the history of print.

Artist David Horvitz engages participants in a dialogue about Giorgio de Chirico's Gare Montparnasse (The Melancholy of Departure). Shown: Giorgio de Chirico. Gare Montparnasse (The Melancholy of Departure). 1914. Oil on canvas. Gift of James Thrall Soby. © 2012 Artists Rights Society (ARS), New York / SIAE, Rome

The content derived from the discussions during these three programs was transcribed and incorporated into the production of the second edition of Triple Canopy’s Volume Number, designed by Tiffany Malakooti—a publication which sets out to reimagine “the magazine as a framework for activities that occur beyond, but are ultimately enfolded by, and digested within its pages.” The form of the publication itself offers an interrogation of the print medium, taking an interdisciplinary, multilayered approach to content. Three sheets of newsprint encapsulate the proceedings of the Print Studio events—one sheet per program. Each page functions like a poster for the event and incorporates a large image that references an artwork central to that event’s discussion. For instance, David Horvitz’s program features an enlarged version of the mysterious clock tower featured in Giorgio de Chirico’s Gare Montparnasse (The Melancholy of Departure). The opposite side of each page features text, transcribed from the conversations that took place during each program, laid out in columns similar to a newspaper layout. Within the text columns are characters and icons that function like footnotes or hyperlinks—directing the reader to additional quotations and images. This publication exists as an archival document of the events that took place at Print Studio, but also as an embodiment of the ideas and dialogue exchanged during the discussions.

The publication is available for pick up, free of charge in the mezzanine of MoMA’s Lewis B. and Dorothy Cullman Education Building at 4 West 54 Street, where the Millennium Magazines exhibition is currently on view. Please come on by and take home your copy today!

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