Insert Blanc Press

The People: Anna Mayer, Jemima Wyman, & CamLab Ep. 5


The People: Anna Mayer, Jemima Wyman, & CamLab Ep. 5
Sunday, July 21 at 3 p.m.
KCHUNG 1630AM Listen Live

Join hosts Ben White and Mathew Timmons Sunday, July 21 at 3 p.m. on KCHUNG 1630AM if you're in or around Chinatown Los Angeles or listen live on the KCHUNG webstream. The People will include guests Anna Mayer, Jemima Wyman, & their collaborative project as CamLab in a conversation about their recent work. 




Anna Mayer—"There is often a social element to my making process, for instance, at events when I pit-fire ceramics for a sculpture, the gathering is itself a performance or participatory happening. The more static works refer to relationships or diagram/propose ways of relating to the world. I often use language and text paired with undeniable materiality as a way to invoke multiple perspectives as well as the idea that voice is integral to embodiment."


I Am Occupied with Always Making So Many Connections, 2012, ceramic portraits, rainbow grass, each mug is approximately 6” x 9”. From an ongoing series of pairs of mugs that couples two people who can’t otherwise be together.


Unimplanting (Word of Mouth), 2012-2013, ceramic instruments, fiber, metal, sound recording 4:48, 5’ x 9’ x 1’. Sculpture includes 70 ceramic instruments (bells, shakers, and megaphones) used in a pit-firing performance one year earlier. The event was held in the backyard of a residence and included a ‘materialogue’ and improvised soundscape by Corey Fogel. 


No End of Channels 3 (Astonishment Rather than Compassion), 2012, underglazed ceramic, sealant.



Jemima Wyman—"I’ve been using patterned fabric and masking in my practice as both an empathetic device and a resistance strategy for some time. By crafting metaphoric skins that individuals can wear, or a community can share in, I can bring awareness to the politics of embodiment (being) and spectacle (seeing). More recently the work has been about using images of various protest groups that employ masking to create a single visual identity that provides collective power against oppressive regimes."


Tactical Surfaces - Making Cover, 2013. Photographic assemblage, 110 x 77 inches. The quilt consists of phototgraphs sewn together from different protest movements (including black bloc, Free Pussy Riot, Free Palestine, occupy movement and the Arab Spring) and samples of patterned fabric related to protest attire and camouflage.


Space for Cryptic Powers, 2013, Steel, cotton, found bandanas and mask, 98 x 61 x 61 inches.


Free Pussy Riot Crazy Quilt, 2012, Digital photographs sewn onto secondhand tie-dyed t-shirts, 74 x 74 inches.



CamLab—"When making work as the collaborative duo CamLab, Anna Mayer and Jemima Wyman consciously take into consideration their psychological needs (individual and collective) and, often, those of the viewer or participant. Much of CamLab's performance-based work utilizes already-existing personal relationships in an effort to create or reveal intimacy through proximity and exchange. In the past this proximity has been proposed through architectural garments made for the artists' bodies and additional others'. These propositions intend to facilitate heightened interactions and intimacies between people. ... The duo believes that a contemporary politics of pleasure must acknowledge the contiguity of language and body in facilitating the spectrum of experience between alterity and intimacy."


Images from The Heart Wants What It Does by CamLab at MOCA Engagement Party, Winter 2012.


Written by Mathew Timmons — July 16, 2013

The People: Boris Dralyuk & Andrew Falkowski Ep. 4


The People: Boris Dralyuk & Andrew Falkowski Ep. 4
Sunday, June 16 at 3 p.m.
KCHUNG 1630AM Listen Live

Join hosts Ben White and Mathew Timmons Sunday June 16 at 3 p.m. on KCHUNG 1630AM if you're in or around Chinatown Los Angeles or listen live on the KCHUNG webstream. The People will include guests Boris Dralyuk & Andrew Falkowski in conversation about their recent projects and their forthcoming work with Insert Blanc Press. 


Boris Dralyuk holds a PhD in Slavic Languages and Literatures from UCLA. His work has appeared or is forthcoming in the Times Literary Supplement, The New Yorker, World Literature Today, Poetry International, Slavic and East European Journal, Russian History, and other journals. He is the translator of Leo Tolstoy’s How Much Land Does a Man Need (Calypso Editions, 2010), co-translator of Polina Barskova’s The Zoo in Winter: Selected Poems (Melville House, 2011), and author of the monograph Western Crime Fiction Goes East: The Russian Pinkerton Craze 1907-1934 (Brill, 2012). He is also the co-editor, with Robert Chandler and Irina Mashinski, of the forthcoming Anthology of Russian Poetry from Pushkin to Brodsky (Penguin Classics, 2015). He received First Prize in the 2011 Compass Translation Award competition, and, with Irina Mashinski, First Prize in the 2012 Joseph Brodsky/Stephen Spender Translation Prize competition.


Translated from the Russian by Boris Dralyuk


The first of the Manifestoh! series curated by editor David Shook.
the manifesto from A TRAP FOR JUDGES II (1913) 
GO TO HELL! (1914) 
A DROP OF TAR (1915)
“The emergence of the New poetries has affected the still-creeping old fogies of Russian little-ature like white-marbled Pushkin dancing the tango.”
The four manifestos collected in A SLAP IN THE FACE rattle with the verbal ingenuity and vitriolic verve of Russia’s most accomplished Futurist collective—known as Hylaea and, for a brief period, the Cubo-Futurists. Organized in 1910-11 by the Burlyuk brothers, the group featured the wildly talented poets Velimir Khlebnikov and Vladimir Mayakovsky, as well as the master of “transrational” (“zaum”) poetics, Aleksey Kruchenykh. The Hylaean program of total destruction and uncertain renewal offers an ominous parallel to the political turmoil of the Great War and the events of 1917. Dralyuk’s annotations provide information on Hylaea’s tumultuous history, its literary battles and short-lived alliances, and the biographies of its members.
Andrew Falkowski is a part-time instructor at the School of the Art Institute of Chicago and a lecturer at Northwestern University. He received a BA from the University of California, Santa Cruz; an MA at the University of Wisconsin, Madison; and an MFA from CalArts. He is represented by Andrew Rafacz Gallery and Rosamund Felsen Gallery where he currently has an exhibition, On to the Next One, from June 8 to July 6, 2013. He joined the Artist Pension Trust (NYC) in 2006. He has had solo shows at Rosamund Felsen Gallery and Andrew Rafacz Gallery; and group shows throughout the U.S., including exhibitions at Kavi Gupta Gallery and the Suburban Gallery in Chicago, and the St. Louis Contemporary Museum in St. Louis, MO. Aside from writing for New Art Examiner and Cakewalk Magazine from 1999-2003, Falkowski has been reviewed or featured in New City, THE magazine, Artweek and Swindle Quarterly. He currently lives and works in Chicago.

Written by Mathew Timmons — June 16, 2013

The People: David Shook & Jason Kunke Ep. 3


The People: David Shook & Jason Kunke Ep. 3
Sunday, May 19 at 3 p.m.
1630 AM KCHUNG Listen Live
Join hosts Ben White and Mathew Timmons Sunday May 19 at 3 p.m. on 1630AM KCHUNG if you're in or around Chinatown Los Angeles or listen live on the KCHUNG webstream. The People will include guests David Shook & Jason Kunke in conversation about their recent projects and their forthcoming work with Insert Blanc Press. 

David Shook grew up in Mexico City before studying endangered languages in Oklahoma and poetry at Oxford. He has translated Roberto Bolaño’s Infrarealist manifesto, indigenous Mexican poetry from the Isthmus Zapotec, and oral poetry by the Burundian Batwa. A chapbook version of Oswald de Andrade’s Cannibal Manifesto is forthcoming from Manifestoh! (Insert Blanc Press) and his translation of Mario Bellatin’s Shiki Nagaoka: A Nose for Fiction is just out from Phoneme Media. He served as Translator in Residence at Britain’s Poetry Parnassus at The Southbank, in 2012. There he premiered Kilómetro Cero, his covertly shot documentary about Equatorial Guinean poet Marcelo Ensema Nsang. A member of American Literary Translators' Association and the National Book Critics' Circle, Shook has been nominated for a Pushcart Prize and his poems, translations and essays appear widely, in magazines like Ambit, Poetry, World Literature Today, where he is a Contributing Editor. He also edits Molossus and publishes Phoneme Books. His moustache is generously sponsored by Oregon Wild Hair Moustache Wax, the most literary moustache wax in the world. His first collection Our Obsidian Tongues, was recently launched by Eyewear Press.


Jason Kunke is a Los Angeles based artist whose practice includes sculpture, drawing, installation, video, and performance. His art examines how authority and aesthetics inform each other. He received his MFA from CalArts in 2007, and his BFA (with a minor in sociology) from University of Houston in 2004. He has exhibited nationally at Polvo in Chicago, Commerce Street Artist Warehouse in Houston, and 25CPW in New York. In Los Angeles he has exhibited at Sea and Space Explorations, LAXART, and Dan Graham. Along with five other artists, he co-runs Elephant, an artist run space in Glassel Park. He currently teaches at Los Angeles Valley College.
Jason Kunke Performance Interpretation for Exchange Rate 2008.
Page 13 of Horizon (zine by Jason Kunke), Photocopy on paper, 2011.
Page 14 of Horizon (zine by Jason Kunke), Photocopy on paper, 2011.
Dispersal Order
Dispersal Order, photocopy transfer on paper, edition of 20, 11” x 17”, 2011.
Crumpled Dispersal Order (2), lambda print, 48” x 33”, 2011.

Written by Mathew Timmons — May 16, 2013

The People: Katie Herzog & Andrew Choate Ep. 2

The People: Katie Herzog & Andrew Choate Ep. 2
Sunday, April 21 at 3 p.m.
1630 AM KCHUNG Listen Live
Join hosts Ben White and Mathew Timmons Sunday April 21 at 3 p.m. on 1630AM if you're in or around Chinatown Los Angeles or listen live on their webstream. The People will include guests Katie Herzog & Andrew Choate in conversation about their recent books on Insert Blanc Press. 

Katie Herzog: Object-Oriented Programming is a catalog of Herzog's recent exhibition at the Palo Alto Research Center (PARC, a Xerox Company) and includes essays by Amelia Acker and Andrew Choate in a large format, full color, hardbound edition of 116 pages. Including over 50 plates and 30 installation shots, Katie Herzog: Object-Oriented Programming collects Herzog's work from over the past decade or more in what was a single large scale exhibition from January 13. 2012 - March 30, 2012 and what now is an artist's book published very proudly by Insert Blanc Press in the Insert Blanc Monograph series. 
Besides writing an essay for Herzog's monograph, Andrew Choate's book Stingray Clapping, also from Insert Blanc Press, has been called "a lithe chapbook that guides the reader toward a space that precedes understanding through convention, toward the transmutation of facts at the level of the utterance" by Nancy Fumero in her review of the book for the Rumpus. Houston Donham, in his review at HTMLGIANT claims that, "At a time when so much poetry is almost singularly concerned with justifying itself, Stingray Clapping represents an attractive, empowering, and refreshing new alternative." 
We look forward to the conversation and hope you do too! We've put some things below by the artists for you to look at and listen to.
Katie Herzog received a Bachelor of Fine Arts at the Rhode Island School of Design in 2001 and a Master of Fine Arts at UC San Diego in 2005. She studied Library and Information Science at San Jose State University and currently serves as Director of the Molesworth Institute. Recent projects include a Dictionary of Textual Asylum in Basel, Switzerland, and a pop-up publishing platform for rejected research in the Quint Gallery restroom in La Jolla, CA.  

Andrew Choate was born and raised in South Carolina and studied music and literature at Northwestern University and the California Institute of the Arts. His first book, Langquage Makes Plastic of the Body, was published by Palm Press in 2006. He has been publishing his writings on music and art since 1998 and his work has appeared in UrbCodaWireSignal to Noise,Art Ltdd’Art International and Facsimile. His writing has been translated into Spanish, French, Hungarian and Czech. His radio plays and sound works have been broadcast on WDR in Germany, Radioarte Mobile in Italy, Hipersônica in Brazil, Resonance FM in England and various outlets in the US. His visual work has been exhibited at the Yerevan Center for Contemporary Art, the Torrance Art Museum, Barnsdall Art Park, High Energy Constructs and Overca$h.  He has given lectures at the Museum of Contemporary Art in Los Angeles ("Picturing Language"), CalArts ("Writing for Video Performance") and Hofer's Studio Roof ("I'm Turning Sideways In This Crowded Train So You Can More Easily Pass Me By").

C is for Cookie (PARC) by Katie Herzog
acrylic on wool blanket
54 x 68 inches (unframed)

Mr. Watson Come Here I Need You by Katie Herzog
acrylic and garnets on canvas
36 x 48 inches (unframed)
Cycling for Libraries Jersey: "Freedom From Information" by Katie Herzog
fabric paint on polyester shirt
26.5 x 30.5 inches (framed)
from Stingray Clapping by Andrew Choate
Chapbook, 56 pages B&W
ISBN 13: 978-0-9814623-5-6
Dimensions: 6.5" x 4.75" x 0.25"

Boink Dimps by Andrew Choate

Home Depot Weapon by Andrew Choate

Ladycat Cadylac by Andrew Choate

Laser Pointers put the Demon in Demonstrate by Andrew Choate

Written by Mathew Timmons — March 27, 2013