Katherine Pickard

  • Cannibal Actif

    Cannibal Actif

    Rochelle Goldberg, Frances Perkins, and Katherine Pickard

    Artist book tracing the cannibal's consuming action and subsequent digestion, through corporeal flesh to mechanistic fixtures, pushing the material limit of ink on a page as a reflection of this narrative track.

    Rochelle Goldberg's Cannibal Actif devours the line between artist book and archive. Each page bracketing a visual thought that leaks off the page seeping through to the next, proposing a structural challenge to the visual, material, and narrative format through which it unfolds. The book's pale cover will wear the dust and dirt of its surroundings, collected over time, while extreme varnish on the pages within will capture the readers residual touch. Thick pools of crude oil envelope bathers in Baku, spilling off their bodies onto a floodline, or further seeping out as a glossy stream of text. Oil poured over gears and out of portals does not stop at the page's edge. These spills are free of constraint—the drainage collects elsewhere onto another page, as a new image: a face, a hand, a snake. The arc of Goldberg's story traces the cannibal's consuming action and subsequent digestion, through corporeal flesh to mechanistic fixtures, while the material limit of ink on a page has been pushed to reflect this narrative track. Overlapping sequences of chroma centric blacks and rusty metallics bend and bleed to offer a psychedelic saliva that lubricates a hardened message, then tempered by soft gradients of reds, greens and pinks, reflecting the visceral membrane of a jellyfish, at once separating and joining two cavities—ingesting and secreting, in rhythm. Contributions by art historian Leah Pires, publisher Frances Perkins, and the artist crack open previous helpings of thoughts served as varnished murmurs, bold words now permitted to ooze across double-page spreads, a regurgitated message we too can consume.

    • Hardcover $45.00
  • Tense and Spaced Out

    Tense and Spaced Out

    Polar Nights, Glacial Chaos, and the Ecology of Misery

    Blake Rayne, Katherine Pickard, and Tim Saltarelli

    Monograph covering the last ten years of the artist Blake Rayne's output, a mode of abstract painting irrevocably marked by conceptual art.

    Blake Rayne's paintings stem from the generative duplicity of words like Script, Folder, Application, Dissolve, and Screen. These operative terms situate the work between forms of linguistic description and the history of reflexive material practices in art. He begins from an orientation that considers the terms “painter” and “painting” as fictions. They have no stable material definition, but rather are shaped by evolving social, institutional, and physical relations. Conceived as a work, this monograph covers the last ten years of the artist's output and culminates in his first survey exhibition at the Blaffer Art Museum in Houston, Texas. Shifting sequences of varying material treatments guide us through the linguistic, institutional, and physical relations that have shaped Rayne's painting practice. The book is united under the structuring sign of cinema, with each section existing like a shot in a film, if you will, that is necessarily informed by and in dialogue with those that come before and after it. The main essays by John Kelsey and Jaleh Mansoor respectively situate Rayne's art within the urban cultural circumstances of New York during the last decade, and his specific position as a painter in relation to other painters of his generation, such as Cheyney Thomson. Mansoor further skillfully places the artist in a wider historical context. Shorter texts by gallerist David Lewis, artists Laura Owens and Sean Paul, as well as curator Javier Sánchez Martínez, illuminate other aspects of Rayne's work, and weave together a range of ideas and tones, from the history of corporate design to the rise of automation; from a lighthearted intervention about “The Rule of Blake” to a museum catalogue introduction.

    • Paperback $40.00