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Invalid Format: An Anthology of Triple Canopy, Volume 1
Published January 2012
Perfect-bound, 336 pp, 6 x 9 in.
Black and white, gatefold cover
ISBN 978-0-9847346-0-3
Design concept by Project Projects, layout and typesetting by Project Projects with Alex Lesy and Triple Canopy

Or receive Invalid Format when you become a Triple Canopy member. Receive the book at the $5 and $10 membership level.

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US $30.00 USD Canada/Mexico $34.00 USD International $42.00 USD

We're pleased to announce the publication of Invalid Format: An Anthology of Triple Canopy. The book, designed in collaboration with Project Projects, is at once an archive of Triple Canopy's widespread publishing activities and a translation into print of projects that originally appeared in other forms. The design of Invalid Format reflects this problem: How might works produced for the screen be transposed to the codex in a way that recalls that former context, though not slavishly, and while also fully inhabiting the page? How can the form and function of interactive, audiovisual works be degraded elegantly, without disappearing entirely, in print?

Invalid Format will be published at least annually, and will be available at select bookshops worldwide as well as on Triple Canopy's website. The initial volume of Invalid Format includes artist projects and literary work published in the first year of Triple Canopy's existence, documentation of public programs, and a sampling of foundational correspondence. Contributors include Lene Berg, Joseph Clarke, Rivka Galchen, Adam Helms, Sheila Heti, Dan Hoy, the International Necronautical Society, Craig Kalpakjian, Jon Kessler, Wayne Koestenbaum, Rachel Mason, Amir Mogharabi, Rachel Owens, Ed Park & Rachel Aviv, the Poetic Research Bureau, John Powers, Emily Richardson & Iain Sinclair, Michael Robinson, and Diane Williams.

Distributed in North America by ARTBOOK | D.A.P., New York, and in Europe by Motto Distribution, Berlin.

With generous support from:

           
Shapco Printing, Inc. (Schulman Group), Minneapolis, MN

The Binder and the Server
Published March 2012
Perfect-bound, 70 pp, 4.25 x 6.88 inches
Black and white
ISBN 978-0-9847346-1-0
Designed by Franklin Vandiver

$8

We're pleased to announce the publication of The Binder and the Server, an expanded and illustrated paperback version of the essay by the same name, which originally appeared in the winter 2011 issue of Art Journal.

The Binder and the Server is the outcome of several group discussions among Triple Canopy editors, and was written by senior editor Colby Chamberlain. The essay details the history of Triple Canopy in order to stake out our position on the ideology of Internet culture. By carefully examining the history of new-media publishing and the shift from disciplinary to control societies, the essay addresses the politics of online identity, friendship, labor, and the dream of digital democracy. In short: On the Internet, we are all contractors.

This pocket-sized edition of The Binder and the Server, designed by Franklin Vandiver, draws on experimental paperbacks of the 1960s, chief among them the collaborations of Marshall McLuhan and graphic designer Quentin Fiore. The book is characterized by cinematic layouts that merge text, typography, illustration, photography, and original artwork by Josh Kline and Dan Torop.

The Binder and the Server expanded paperback was published with generous support from Franklin Street Works Press. In March, at the annual College Art Association conference, “The Binder and the Server” received the Art Journal Award for the most distinguished contribution to the journal in the past year.

Volume Number 2:
Miscellaneous Uncatalogued Material
Published March 2012
Set of three offset-printed, double-sided posters
23 x 16.5 inches each
Designed by Tiffany Malakooti

$10

This publication emerges from a series of programs organized by Triple Canopy as part of the Museum of Modern Art’s Print Studio, a project initiated in conjunction with the exhibitions "Print/Out" and "Millenium Magazines." Print Studio explores the evolution of print-based artwork in recent decades, from the revival of traditional techniques to the employment of digital technologies. For Miscellaneous Uncatalogued Material, Triple Canopy asked Brooklyn-based artist, bookmaker and set-designer Sarah Crowner, Los Angeles native and Brooklyn-based artist David Horvitz, and poet Ariana Reines, author of The Cow, Coeur de Lion, Mercury, and the play Telephone and the translator of books by Tiqqun, Jean-Luc Hennig, and Charles Baudelaire, to each facilitate a public discussion of the relationship between certain objects in the MoMA collection and forms of communication and circulation fostered—or affected—by digital technologies. This is more or less what happened. The conversations were recorded, transcribed, edited, and annotated by Triple Canopy with the facilitators and participants, while being turned into three double-sided newsprint posters by designer Tiffany Malakooti.

Miscellaneous Uncatalogued Material is the second publication in Triple Canopy's Volume Number series, a publication cycle that reimagines the magazine as a framework for activities that occur beyond its pages. Publications take forms ranging from the broadsheet to the PDF to the poster and emerge from and feed back into discussions, workshops, and classes. Volume Number aims to be generative rather than documentary, absorbing these engagements rather than merely representing them. Instead of simply printing the work of artists and writers, Volume Number provides a variable space for Triple Canopy’s editors, collaborators, and audiences to think through the practice of publication, instantiating the public spaces magazines purport to produce in the world.

Here Comes Nobody: Essays on Anonymous, 4chan and the Other Internet Culture
By David Auerbach and Gabriella Coleman
Published March 2012
E-Book, 104 pp, 212 kb
Black and white
ASN: B007O13LI6

$2.99

Here Comes Nobody, Triple Canopy's first e-book, features two essays published in the magazine in early 2012. Gabriella Coleman's "Our Weirdness Is Free" uncovers the logic of Anonymous—online army, agent of chaos, and seeker of justice. David Auerbach's "Anonymity as Culture" explores the online message board 4chan and the legacy of Internet masquerade in a treatise and a series of case studies.

Triple Canopy is pleased to announce the publication of where’s my fucking peanut, a new limited edition created by artist Rachel Harrison.

where’s my fucking peanut consists of twenty-six printed cards and thirty-two painted clothespins housed in a letter-pressed wooden case signed by Harrison. The text on the cards is scrawled in Sharpie and increasingly anxious in tone; each wonders about the whereabouts of a peanut allegedly stolen from an installation by the artist during an exhibition at the Right Bank, a Williamsburg bar, circa 1993. “Woe are peanutless days,” indeed.

Expanding upon an existing work included in Harrison's traveling survey, "Consider the Lobster," where’s my fucking peanut was conceived as the counterpart to her online project "Rump Steak with Onions," following its publication in the fourteenth issue of Triple Canopy. The article melds several stories of art and theft; among images of American entertainment legend Johnny Carson and a game of computer solitaire gone haywire, a body of evidence emerges.

Rachel Harrison lives and works in New York. She has shown throughout the US and Europe; her work was recently included in the 53rd Venice Biennale (2009), the Tate Triennial (2009), and the Whitney Biennial (2002, 2008). Her traveling survey, "Consider the Lobster," originated at the Hessel Museum of Art, Bard College (2009), and traveled to the Whitechapel Gallery, London (2010).

Special thanks to Carol Greene and Alexandra Tuttle for their support of this project.

For more information, please write to contact@canopycanopycanopy.com or call (347) 529-5182.

Boru O’Brien O’Connell
Adaptation after Metalogue (Part 1), 2012
Single-channel video with sound, 4:50 min loop
Edition of 4 with 2 artist proofs
Published by Triple Canopy

Triple Canopy commissioned Brooklyn-based artist Boru O’Brien O’Connell to create a new video based on the "Metalogues" of English anthropologist and linguist Gregory Bateson, featuring disjointed conversations between a father and daughter—thought exercises in which the dialectical structure of the exchange echoes the subject matter. Each of four editions contains a signed certificate of authenticity, Blu Ray disc, and USB 3.0 flash drive, housed in archival packaging designed by the artist.

Boru O’Brien O’Connell is an artist based in Brooklyn. His work has recently been shown in solo exhibitions at LaMontagne Gallery (Boston) and group exhibitions at Marc Jancou Gallery (New York), Invisible Exports (New York), Soloway Gallery (Brooklyn), and Night Gallery (Los Angeles). He is currently working on a multichannel film installation with performance artist Miguel Gutierrez entitled And Lose the Name of Action, to debut at the Walker Arts Center and BAM in late 2012. O'Brien O'Connell's work has been featured in Triple Canopy, Bidoun, Vice, and Blind Spot, among other publications. He is a 2011 graduate of the Bard College MFA program. "State Changes," an interactive video project by O’Brien O'Connell, was published in the twelfth issue of Triple Canopy.

For more information, please write to contact@canopycanopycanopy.com or call (347) 529-5182.

Triple Canopy
Erased Reflection (Screenshot), 2011
Two-color screenprint on paper
14 x 11 inches
Edition of 200 with 20 artists proofs, hand-numbered and signed on Recto
Printed by Kayrock Screenprinting, Inc., Brooklyn, NY
Created by the editors of Triple Canopy and published on the occasion of The Future Has Two Faces, a benefit for Triple Canopy, October 28, 2011.

R. H. Quaytman
Light Industry, 2011
Archival digital pigmented print with silkscreen on Museo Max paper
12 3/8 x 20 inches
Edition of 30 with 5 artist prints, signed and numbered by the artist
Published on the occasion of the campaign to support 155 Freeman

R. H. Quaytman's work incorporates abstraction and layers of diamond dust, silkscreened photographs and hand-painted trompe l'oeil, personal and art-historical narratives. Her work is on view at this year’s Venice Biennale and has been shown at the Whitney Biennial (2010) and at solo shows at SF MoMA (2010) and Kunsthalle Basel (2011).

Sold out.

Matt Mullican
From Me (in Space), 2010
Archival pigment print
Diptych, each panel 17 x 22 inches
Edition of 30, signed and numbered by the artist
Published by Christine Burgin and Triple Canopy

$450

For more information, download the documentation sheet (PDF) or contact us.

For And Yet It Moves, the tenth issue of Triple Canopy, artist Matt Mullican collaborated with computer programmer Patrick Smith to create "Planetarium," a navigable scale model of the solar system. Mullican, who has worked in performance, installation, sculpture, and hypnosis, first experimented with digital environments in 1991 to create Five into One, a virtual city constructed in accordance with his personal visual vocabulary and cosmological order. Exploring that city, Mullican was transfixed by his ability to leave the earth's surface and travel into the sky, toward the stratosphere, into nothingness. (This experience of unbounded space became a leitmotif in later works.) From Me (in Space), an edition published by Triple Canopy as the companion to "Planetarium," is Mullican's schematic diagram of his relationship to space, positioning him both within and outside the solar system. The left panel of the diptych shows the planets, horizontally aligned and rendered as colored pixels in a black field, in the bright, solid palette characteristic of the artist's sculpture and cartography. On the right, Mullican charts his distance from those planets. Near the bottom of this panel, Mullican has provided a time stamp, halting the movements of these celestial bodies at the moment of his completion of the work.

Matt Mullican was born in 1951, in Santa Monica, California, and currently lives in Berlin. His work has been exhibited extensively in the US and internationally. Recently, his work was included in "The Pictures Generation, 1974–1984" at the Metropolitan Museum of Art (2009) and the 2008 Whitney Biennial; it has also been exhibited at the Drawing Center, New York (2008); Museum of Contemporary Art, Los Angeles (2005); Ludwig Museum, Cologne (2005); and Museu Serralves, Porto (2001). Mullican's work is currently the subject of a solo exhibition at the STUK Kunstencentrum in Leuven, Belgium, which will be traveling to de Appel, Amsterdam, and Haus der Kunst, Munich.

Matthew Thurber
Impossible Geometries, 2010
Archival Risograph print
17 x 11 inches
Edition of 100, signed and hand-numbered on recto
Printed on the occasion of "Impossible Geometries," a benefit party for 177 Livingston, February 20, 2010

Dexter Sinister
A Skeleton, A Script, Or A Good Idea In Advance Of Its Realization, 2010
Risograph Print With Multiple Passes
12 x 9 inches
Edition of 100, hand-numbered on verso
Printed on the occasion of Triple Canopy's "Impossible Geometries," a benefit party for 177 Livingston, February 20, 2010.

One unpronounceable glyph: This print by Dexter Sinister is composed of six layers. Each layer consists of an individual character, printed in the following order: M, T, D, B, T, 2.

José León Cerrillo
Wrong Place, Right Time, 2009
Digital offset print
18 x 13.5 inches
Edition of 100, hand-numbered on verso

Sara Anderson (Sumi Ink Club)
Untitled, 2008
Silkscreen on paper
17 x 14 inches
Unknown Edition
Printed on the occasion of Triple Canopy's "LA Launch," June 27, 2008

The Medium Was Tedium
Gray heavy-weight tote bag made from recycled bottles

Seven Translucent Tiers
Designed by Adam Helms (after Mel Bochner)
Gray heavy-weight tote bag made from recycled bottles