Produced on the occasion of the Giorgio Griffa, Fragments 1968-2012 at Casey Kaplan Gallery. New York, October 25–December 22, 2012.

The exhibition presented a selection from over forty years of Griffa’s paintings on un-stretched canvas and linen. Throughout the past four decades, Griffa has undertaken a practice that he describes as “constant and never finished”, adhering to “the memory of material”, and to the belief that the gesture of painting is an infinite one. Within the finite frame of his canvas, each artwork becomes a site of collaboration between painting and the painter as the hand works to reveal a constellation of signs and symbols. This relationship is further mediated by the materiality of the works: the absorption of the acrylic into the fabric from each stroke dictates the brush’s next move. The completion of a canvas functions as a suspension of this relationship. After the acrylic has dried, they are carefully and neatly folded into uniform sections and filed as a register of their collective life as a whole.

Produced on the occasion of the exhibition Giorgio Griffa at Fondation Vincent van Gogh Arles, from 13 February–24 April 24, 2016.

The art of the italian artist Giorgio Griffa developed quietly and with impressive coherence outside the latest movements broadly outlined on the contemporary scene. At the beginning of his career Griffa nonetheless associated himself with the representatives of Arte Povera, with whom he exhibited on numerous occasions in the 1960s and 1970s. His simultaneously “minimalist” painting also displayed an affinity in particular with the group Supports/Surfaces in France.

With texts by Bice Curiger, Giorgio Griffa, Francesco Manacorda.

i THINK and I think i’ve THOUGHT a thought collects the various components of Pyl’s practice from 2014 to 2021 in one publication by making use of the frottage technique. Working with pencil and paper, Pyl has inscribed each page with elements taken from different works. From these fragments, when they are taken together, a new vocabulary can be assembled: a collection of semantic artifacts rendered in binary patterns of light and shadow, negative and positive, and in no gradated or hierarchical order. The images that can be composed from these fractured parts are revealed only gradually as they superimpose upon each other, conjuring new associations, new ways of reading, with each turn of the page.

2007 reprint of a 1966 Great Bear Pamphlet.

Two dramas that explore improvisation and chance by the innovative poet Jackson Mac Low. In each, Mac Low gives the hypothetical performer general instructions arrived at through chance operations involving various linguistic structures. In Port-au-Prince, the speeches consist of “pseudo-sentences” that appear as though they make sense but in fact do not. Adams County Illinois uses the same structure but consists of folk-sayings quoted from the 1935 Folk-Lore from Adams County Illinois by Harry Middleton Hyatt.

2017 Equitable Sharing payments by state.

The Department of the Treasury Equitable Sharing Program allows law enforcement agencies to contribute cash and assets to the Federal Treasury Forfeiture Fund. The primary purpose of the Treasury Forfeiture Fund is to administer federal auctions of these assets and distribute the proceeds from the auctions. Participating agencies receive up to 80% of the cash and the proceeds from the sale of assets they contribute. In states that restrict the forfeiture revenue directed to the seizing agency, police departments are incentivized to participate in the federal program.

The 2017 average revenue from sales proceeds from property seized and auctioned for each participating agency was $57,967. The 2017 average revenue from cash forfeiture for each participating agency was $71,959.

Through the widespread targeting of low-value assets, the Equitable Sharing Program generated a total of $84,283,266 in sales proceeds and $211,277,289 in cash seizures for police.

*Please note this publication is secondhand and has some traces of previous ownership.