Booklyn Artists Alliance

Marshall Weber, New York, NY

NEWS (followed by the basics below.)

Marshall Weber and Rose Eken, two solo exhibits at Munch Gallery, opens on January 9th, 2013. Check it!

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The Tide's Story, 2006, Eliana Perez, Marshall Weber, Xu Bing

The huge DIAMOND LEAVES: Artist Books from around the World show that I co-curated with Xu Bing opens September 18, 2012, at the Central Academy of Fine Arts Museum (CAFAM), No. 8 Hua Jia Di Nan St., Chao Yang District, Beijing, China. The exhibit is a collaboration between the Booklyn Artists Alliance and the Central Academy of Fine Arts Museum and is the first major museum exhibition of contemporary international Artist Books in China.
For more info download the Press Release or link.

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Performance at Printed Matter. Photo by Honey McMoney.

From Wednesday July 26th at 3PM through Friday July 28th to 3PM, I did a 48 hour long marathon reading of appropriative texts (chosen by Help/Less exhibit curator Chris Habib) at Printed Matter as part of the Help/Less exhibition at Printed Matter in NYC.

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Photo, Dana Smith.

I performed a 74 hour long on-the-street mobile poetry recital as part of the Streetopia show in San Francisco from May 20th through May 23rd. Check it!

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Awedience Shadowed, 2011

Awedience, a solo exhibition of photo-installations opened at Munch Gallery, 245 Broome Street, NYC on February 16th and ran through March 11, 2012.

THE BASICS

I make artists books, collage, drawings, installations, performances and photographs. My artwork is concerned with reading and writing the poetry of social networks, the resonance of cave paintings, feeling the matrices of history and imagining sustainable aesthetics. I am a curator of emerging artworks and artworkers concerned with the beauty in justice, and I'm a social sculptor of alternative art distribution networks.

Over the past few years I have curating and creating alternative funding projects for activist and art organizations such as Iraq Veterans Against the War, Escuela de Cultura Popular, Martires del ’68, Zapatista Cultural Committee, and the Streetopia Project at the Luggage Store Gallery. I helped the OCCUPRINT project of Occupy Wall Street design and produce the OCCUPRINT fine art print portfolio which functions as an educational and fund-raising resource for Occupy Wall Street. Ask me how.

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Heart Sutra, 2007, 36 x 86 inches, Chinese ink brushed Sanskrit, graphite, Japanese ink, cayenne and turmeric pigments on paper.

I am a founder of Organik, a collaborative art making group, with Kurt Allerslev and Christopher Wilde. Laura Smith and Sarah Parkel are frequently Organik. Facebook, Resume.


A Proposal for a Performance in Dublin, Ireland in 2013

Drawings/Rubbings/Collage
MONUMENT
Alternating Currency, 2007
More Money Problems, 1987

Curatorial Projects

Artist's Books
When the Child Was A Child, with Robbin Ami Silverberg, Dana Smith and Sophia Kramer, 2011-12
The Organik Book, with Kurt Allerslev, Laura Smith, and Christopher Wilde, 2010
Sustainable Aesthetics, with Dana Smith, 2010-11
My Bar Mitzvah Album, 2010
Mirror, with Dana Smith, 2010
Organik Books
My Old Books Movie
Recent Books with Artichoke Yink Press
Books with Fred Rinne
Books with Xu Bing and Eliana Perez
Blood Owned It
Cycle
Eleven
House of Ghosts
I'TLY
Magazine Excavation
Materialism
Souvenir

Installation
Spice Cave exhibit at Despalle Editions, Paris, France, 2008
Spice Cave exhibit at Gallery Andante, Seoul, Korea, 2008

Selected Performance
Difficult Writing Series, 2007-
Kann Denn Liebe Sunde Sein?, 2009
Homage to Apollinaire, 2007
Vegetable Mind, 2001-2004
...even the birds were on fire..., 2001-2004

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My Bar Mitzvah Album, 2010

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This book uses the original documentation of my Judaic ‘coming to manhood’, ‘leaving childhood’ ritual as the basic terrain where my identities as a son, brother, child, political radical, Jewish-American, artist, and American collide. Childhood is a canvas of nostalgia, supposed innocence, confusion, maturing, separation from parents and their beliefs. Adolescence exponentially raises the bar on the traumas of growing up and growing old. Our families and our countries provide the identities, which we both embrace and refute. My Bar Mitzvah Album is a remix of my life, a time machine that travels back and forth trying to make some sense of it all.

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I have taken my original Bar Mitzvah photo album from 1973 (photographs taken by Richard Schaller of West Hartford, Connecticut), combined it with:

- my Haftorah book (the book one studies in Hebrew to learn the scripture that
one recites during one’s Bar Mitzvah ceremony),
- other childhood papers, including my 1968 drawings of the Apollo spacecraft,
handwritten reports of mine from elementary school
- iconic materials from my adolescence: 45RPM vinyl records, the receipt from my first hotel room experience, love notes to girlfriends, pages from my high school yearbook,
- Peter Handke’s poem “Childhood” (in German and English), perhaps best know as the lead text in Wim Wenders “Wings of Desire” film, my favorite film and one of my favorite texts, (the film is about coming to manhood as well)
- writing from my then seven year old daughter, and her friend Milo
- various elements of cultural interface, Catholic imagery from my grand tour of Italy, Islamic calligraphy contrasted with wild style graffiti
- photographs of the 1800’s New York home streets of my American ‘ancestors’ and other enigmatic materials.

Materials ink, turmeric pigment, photographs, photo-copy, various


Back to Intro
A Proposal for a Performance in Dublin, Ireland in 2011

A Finnegan's Wakefullness, again won Jude fremm Nuieue Aamsterdam wonts tr reade JJoyce (hardre than previatuleesly) in Eire - (being the grand epilougure to the CYCLE aftermentioned behlow)

I am looking for sponsorship and funding in order to read all of Finnegan's Wake out loud while wandering the streets of Dublin sometime this year (2010). I have been thinking about this piece for more than a decade, and I see it as the grand epilogue to my The Ulysses Cycle of performances. I will try my best to stay awake and read the whole book non-stop (a specialty of mine, see below), but if I doze off, and if I don't doze off, I depend on the kindness of strangers throughout the performance. I estimate that the performance will take me 100 hours to do and that my expenses will be about $2,800 less or less, as I will need a plane ticket, documentation, medical supervision, pineapple juice, pommes frittes, and cash to take back to my family.

Back to Intro

The Ulysses Cycle, 1994-2004
A series of out loud public recitations of the complete texts of a millennial literary cycle. I started with the classic modernist reconstruction of the story of “Ulysses” then hurtled backwards through global literary history reciting apocryphal texts in site specific locations and installations in the public sphere, and finally returned to the ancient root classics by Homer. The cycle is an evocation of the hope contained in human literature and the joy of street reading as well as an exorcism of the demonic forces of illiteracy, fundamentalism and textural literalism. Only the epilogue awaits...

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A Jewe Reades James Joyce's Ulysses, 1994, 33 hour recitation of James Joyce’s Ulysses at the Coffee Lab in Madison Wisconsin, about 1,000 people attended. Wisconsin State Journal Review

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Zarathustra Spake Thus, 1996, a 27 hour recitation of Nietzsche’s Thus Spake Zarathustra, at the Cleveland Arcade during the Cleveland Performance Art Festival. Over 2,300 people attended. Details.

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The Shallows, 1998, "the shallows", installation duration - two weeks, with a 22 hour recitation of William T. Vollmann’s The Rifles during a July heatwave in a sub-zero refrigerator truck interior that recreated a Franklin Expedition icebound shipwreck of 1847. Commissioned by the Works Festival in Edmonton, Canada. Over 2,000 people attended. Details.

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The Bible, 1999, after a year of not shaving or cutting any hair on my body I did a 72 hour long recital of the Bible, both Old and New Testaments, at the former Anshe Chesed Synagogue (built in 1850 and modeled after the Koln Cathedral in Germany) in the Lower East Side of New York City. The building is now the site of the Angel Orensanz Arts Center. Over 1,000 people attended. Art in America review, New York Times review

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The New York City Iliad and Odyssey, 2004, a 46 hour long recitation of Homer’s “The Iliad”, at the Vietnam Veterans Memorial, NYC and recitation of Homer’s “Odyssey” on the Staten Island Ferry. Sponsored by the city-wide Imagine Festival and simultaneous with the Republican Party's National Convention in NYC. About 1,000 people attended, though it is hard to judge since a much larger number of people passed by the performance, especially on the ferry.
Details.

...in a festival of what may well turn out to be 100 events,The NYC
Iliad and Odyssey
may well be the most eccentric, notable and oddly
impressive.
Chris Wangro, Imagine Festival, Executive Producer, in an Associated Press National Wire Report, August 8th, 2004.

Finnegan's (Again) Wake (fullnessessary)
Hopefully, I will read all of Finnegan's Wake aloud this year (2010) in Ireland during some appropriate cultural festival.

Back to Intro

Stuff
News (no news today, sorry!)
Bio (...ugh, promise to rewrite)
Archive (a conundrum... yikes...)

Portrait by Mark Wagner

Warning Link and Click nightmare below!

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Organik books co-published by Artichoke Yink Press.
Book from a Cave
Yam Dreaming
Matchless
Push
Control I and II
Streng
Where is My Body?
Figures of Speech
Wheel of Knives
Circulatory System
Your Death
Blooming Sunlight
A Riddle for Kalki
Bird Mountain
Golden Horse and Golden Horse at AYP
Had Gone
Light from a Star
Superstition Freeway
This is Not a Book

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Books with Fred Rinne:

Game Over Bitches, 2011, unique, a crass crash course in the Arab Spring. Not to be missed. Collection of Stanford University Art Library

Popsicle, 2007, unique. An amazing unique hand painted book by San Francisco urban-folk art legend Fred Rinne illustrating Marshall Weber’s cautionary tale of popsicle convection suffocation syndrome.

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Bedtime for Bremer, 2006, one unique in full color and one unique in Black and White. An amazing unique hand painted book by San Francisco urban-folk art legend Fred Rinne illustrating Rinne and Weber’s cautionary tale of the short, brutal and incompetent regime of US Iraqi civilian administrator, L. Paul Bremer III. Fred Rinne and Weber’s astounding tale of political psychosis collides Africaner and Israeli, Arab and Rastafarian, and USAmerican and Raj era Brits into a cynical black-humored portrait of American federal and corporate mayhem and Iraqi misery. In the style of a children’s book for adults, the book is hand bound by Rinne, sports fabulous hand painted covers, and is painted in acrylic paint on Arche paper.
Collections:
Biblioteque nacional de Luxembourg
University of California, Irvine

Galoshes for the Apple Lady
Collections
Biblioteque nacional de Luxembourg
University of Connecticut, Storrs

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Superstition Highway, 2005, edition of 12, handpainted by Rinne, text by Weber.
Collections
Scripps College, Denison Library, Claremont, CA
University of California, Santa Barbara
and two private collections - go figure!

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Blood Owned It
2007, 14 pages, 7 x 11 inches, variant edition of three.
Media: wax crayon and graphite on pages of acid free cover stock paper. The covers are unfinished and dyed cow leather, bound by Cat Glennon at Booklyn.
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The rubbings are from the 49’er town Murphy’s up in the California Sierras on State Route 49. Every other plaque in Murphy’s commemorated a murder or a fire and the book documents the fact that the town is bracketed by a plaque for E Clampus Vitus, a boozing Western Heritage fraternal organization on the Southern entrance and a plaque for the Good Templars a temperance group on the North.
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John Muir wrote in his book, The Mountains of California (1894), “MURPHY'S CAMP is a curious old mining-town in Calaveras County, at an elevation of 2400 feet above the sea, situated like a nest in the center of a rough, gravelly region, rich in gold..., and placed invitingly open before the student like a book, while the people and the region beyond the camp furnish mines of study of never-failing interest and variety.”

Collections:
Scripps College, Claremont, CA
Private Collection, Murphy’s, CA
The Artist, NYC


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Cycle by Marshall Weber and Shon Schooler and Alice Yeates, (Indooroopilly, Australia), edition of eight, 3 AP's, 2006, 11.5 x 7.5 x 1 inches, 28 pages, digital color laser prints on Hahnemühle Ingre paper, scanned from the original artwork.
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Printing, original collage, ink painting and rubbings by Marshall Weber
Embroidered cover by Shon Schooler and Alice Yeates, (Indooroopilly, Australia)
Book design and binding by Shon Schooler
Endpage silkscreen prints by Alice Yeates
Endpapers of kenaf by Kenaf Papers (Proserpine, Australia)
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Cycle is a portrait of Australia via the the matrix of the country’s monuments, plaques, architectural motifs and organic surfaces. While not authoritative, exhaustive or in any way complete, Cycle tells part of the story of the country in its own words and images.
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The rubbings in the book are from plaques of the Horizons public art project, MacKay, Australia artist Ron McBurnie’s trashcans at Artspace MacKay, various war memorial monuments, Canberra, Australia, and Linoleum cut plates by Dianne Fogwell, Canberra, This book was made possible via assistance from Robert Heather and Artspace Mackay, City Council of Mackay, Dianne Fogwell and Australia National University, the Booklyn Inventive Investment fund and all the contributors.

Collections:
Australia National Library, Canberrra
Duke Collier, West Newton, MA
Jack Ginsberg, Johannesburg, South Africa,
Library of Congress, Washington D.C.
Queensland State Library, Brisbane, Australia
Smith College, Northampton, MA
Stanford University, California
University of Delaware
Victoria State Library, Melbourne, Australia

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I'TLY
A collage book and folding screen, 2005, edition of 20, 16 pages
9.5 inches by 15.5, 6 feet 3 inches unfolded
Printed digitally on full color, high temperature toner copiers at C2 Media, NYC, (Print management by Fritz Fernow, C2 Media)
Photography by Marshall Weber and Christopher Wilde,
Poem, collage and page design by Marshall Weber
Italian version of the poem by Peter Spagnuolo
Digital layout and printing by Amy Mees
Binding and slipcase by Damara Kaminecki
Produced with assistance from Booklyn's Inventive Investment Fund.
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I'TLY is a lyrical text/image collage of a slightly skewed American artist’s ‘Grand Tour’ of Italy. Photographed primarily in Cortona, Tuscany and Rome. The book’s verso side focuses on the distanced ‘long shot’ of the tourist’s perspective with an English text, while the recto features the text in Italian and extreme close-ups in order to convey the more intimate perspective of a native resident. The sacred and the profane, the mundane and the spectacular, the ancient and the contemporary are all juxtaposed within the text and the images as they are in Italy itself. The structure of the book is twofold; it can be ‘read’ as a codex book, continuing the page turning from the verso to the recto or it can be exhibited as a two-sided screen in the tradition of the Asian screen painting, taken out and unfolded for friends.
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Collections:
Chapman University, Orange California,
Long Island University, Brooklyn, NY
Scripps College, Denison Library, Claremont, CA
University of California, Santa Barbara
Art of the Book Collection, Sterling Library, Yale University

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Eleven
2002, 72 pages, 9" x 6", first edition of 29, second edition of 19, digitally printed Fiery color copies on high gloss photographic quality paper. Hand bound with black Laval velvet, includes an audio CD.

A photographic essay by Marshall Weber documenting the visual and text environment of downtown New York City in the weeks after 9/11 with texts by various New York writers.

The book has an innovative structure of alternating vertical and horizontal page-spread orientation. The alternating orientation prompts the reader to rotate the book 90 degrees with each page turn. A small white or black silhouette of the WTC Towers rises from the bottom right hand corner of every page-spread to assist the reader with keeping the proper page orientation. Two recessed bars on the front cover both recall the missing Towers and act as a mnemonic device to remind the reader where the front of the book is located since the direction of page turning varies with the page orientation. The constant re-orientation produces a visceral experience of vertigo that evokes the intensely disorienting atmosphere of 9/11 yet still keeps the reader engaged with the texts and images. In exhibition the Eleven book is mounted on a turntable for easy manipulation by readers.

Accompanied by a CD (set into the back inside cover) produced by Christopher Wilde, featuring texts from the book recited by the authors: writer Ellis Avery, Judith Foster (director of the Neighborhood School, a downtown Manhattan public elementary school), artist/journalist MT Karthik, poet/chanteuse Jane LeCroy, poet/civil rights activist Peter Spagnuolo and M. Weber. A Booklyn publication.

Book design: Marshall Weber, Christopher Wilde of Artichoke Yink Press, Brooklyn, NY, and Sara Parkel of Filter Press, Brooklyn, NY.
Page design: Marshall Weber and Alison E. Williams of Doublevision Press, Bisbee, AZ.
Text design: Alison E. Williams.
Binding: Sara Parkel.
Illustration: Isabelle Weber.

Collections:
1. Bibliotheque nacional de Luxembourg
2. Bieneke Library, American Literature, Collection, Yale University, New Haven, CT
3. Boston Athenaeum, MA
4. Bucknell University, Lewisburg, PA
5. A. Chasonoff, private collection, NY, NY
6. Center for Contemporary Photography, University of Arizona, Tuscan
7. Dartmouth College, Hanover, NH
8. Fogg Museum, Harvard University, Cambridge, MA
9. Klingspor Museum, Offenbach, Germany
10. Library of Congress, W. DC
11. Louisiana State University, Baton Rouge
12. Milwaukee Art Museum, WI
13. New York Public Library, NYC, NY
14. New York University, NYC, NY
15. Reed College, Portland, Oregon
16. Sacramento Public Library, CA
17. Smith College, Northampton, MA
18. Stanford University, CA
19. Staatlicht Museen zu Berlin, Kunstbibliothek (SPK), Germany
20. Swarthmore College, PA
21. Trinity College, Hartford CT
22. Queensland State Library, Brisbane, AU
23. University of California, Irvine
24. University of Chicago, IL
25. University of Colorado, Boulder, CO
26. University of Minnesota, Minneapolis
27. University of Nevada, Reno
28. University of Vermont, Burlington
29. War Memorial Museum, Canberra, AU
30. Wellesley College, Wellesley, MA

Exhibitions:
June-Oct 2008, Freestyle Books, State Library of Queensland, Brisbane, Australia
March 2008, Metaphor Taking Shape, Yale U., Beinecke Library, New Haven, CT
June 2007, Action/Interaction, Columbia College, Galss Curtain Gallery
January 2006, New Artists Books, Western Exhibitions, Chicago, IL
October, 2005, Alternative Voices, Trinity College Library, Hartford, CT
April, 2005, Pressing Issues, Corcoran Gallery, Washington, DC
Sept., 2004, Making Meaning: Artists Books, Kansas City Art Institute, MO
Sept., 2004, Interrogating Politics, Milwaukee Art Museum
May 2004, Frankfurt Artfair, Germany
Feb./March 2004, Third Space Gallery, Milwaukee, WI
Jan./May 2004, Museum of Arts and Design, New York, NY
Sept/Dec. , 2003, Reed College, Portland, Oregon
June/Aug. 2003, Museum fur Angewandte Kunst, Frankfurt, Germany
March/May 2003, University of New Hampshire, Durham
Sept./Oct. 2002, 33&1/3 Gallery/Bookstore, LA, CA

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Souvenir
2003, edition of 35, 28 pages, 8 inches by 5.5, 10 AP copies numbered 1960-1969, on Mohawk Vellum paper and other archival papers and clothes.
Digital layout and printing by Amy Mees
Book design and production by Mark Wagner
Collage and page design by Marshall Weber
Signed by the artists, with different talismanic vintage portraits taken from the original to suggest the appearence of the artistsThe Galaxy yearbook, in a slipcover.

Souvenir is a deconstruction of The Galaxy, Marion Rudiwitz's 1969 High School Yearbook (from Francis Lewis High School in Fresh Meadows New York, on Long Island) into an old stamp album. One night early in 1999 I found the yearbook in a pile of (Marion's) belongings, which had been tossed onto the curb on Bleecker Street in Greenwich Village. It was an obvious eviction/split quick/death/illness/landlord-threw-stuff-into-the-street situation. I took the book home and my friends and I cruelly laughed at it for a few days. Then in an act of nostalgic piety and apology I spent the next three years tearing the yearbook apart and reassembling it into a vintage stamp album.

Souvenir is a simulacrum of the acclaimed unique collage book of the same name. The original collages were digitally scanned at a high resolution, color corrected so that the high quality Fiery Laser Jet printed pages match the unique book’s pages. It is constructed with cellophane interleaves that visually and tactilely recreate the reading experience of the unique book.

Souvenir is a talismanic antidote to revisionist attempts to diminish the legacy of the 60’s; a decade which still holds a revealing ethical mirror to our present consumer culture’s brutality and arrogance. It recalls a time when college students in the United States had class-consciousness with interests different from those of their parents. The student class had idealistic goals beyond securing a super-sized version of their parent’s lifestyle. That traditional class-consciousness (heir to the ‘Fourth Estate’ of Revolutionary France) survives in fragments, but has been greatly degraded. Oops - there goes the generation gap, easily crossed and taped over by SUV and MTV. (The unique, original collage book ofSouvenir is also available.)
Exhibitions:
Feb./March 2004, Third Space Gallery, Milwaukee, WI
Collections:
Dartmouth College, NH
Milwaukee Art Muuseum, WI
Minneapolis Institute of the Arts, MN
Stanford University, CA
California Polytechnic State University, San Luis Obispo, CA
University of Wisconsin, Milwaukee
University of Minnesota, Minneapolis
Wesleyan University, Middletown, CT

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MAGAZINE EXCAVATIONS Images
MAIM, 2003, 14 pages, ed. of 13, 10 3/4" x 8 1/2", a collaboration with Felice Lau of Felix Press AKA Felix. Felix subscribed to Maxim magazine (a men’s lifestyle publication) for a year and collaged each figure on the cover and then sent them to Weber who formed poetry concrete from the page field. The result is a devastating critique of the magazine's ‘barely’ disguised hideousness.
Exhibitions:
Nov. 2004/March 2005, Hilyer Art Library, Smith College, Northampton, MA
Feb./March 2004, Third Space Gallery, Milwaukee, WI
Collections::
Kinsey Institute for Sex and Gender Research, University of Indiana, Bloomington
Long Island University, Brooklyn, NY
Smith College, North Hampton, MA,
University of Wisconsin, Milwaukee

DKNYFD, 2003, 14 pages, ed. of 13, 10 3/4" x 8 1/2", Images
A collaboration with Felice Lau/Felix Press. Weber and Felix arrange a collision between a Donna Karin New York fashion pseudo-feminist fashion book (ostensibly a charitable fundraising device) and a burning bonfire (of vanities?) that gorgeously collapses any pretensions of fashionable altruism.
Exhibitions:
Nov. 2004/March 2005, Hilyer Art Library, Smith College, Northampton, MAFeb./March 2004, Third Space Gallery, Milwaukee, WI
Collections:
Fogg Museum, Harvard University, Cambridge, MA
Smith College, North Hampton, MA,
University of Wisconsin, Milwaukee

Your Eyes Make You Panic, 2000, 14 pages, ed. of 23, 10 3/4" x 8 1/2". Images. A collaboration with Felice Lau/Felix Press. As with MAIM Felix subscribed to Cosmopolitan magazine for a year and marker treated each figure on the cover and then sent them to Weber who formed poetry concrete from the page field. The result is an uncomfortable critique of the magazine's representations.
Exhibitions:
Nov. 2004/March 2005, Hilyer Art Library, Smith College, Northampton, MA
Feb./March 2004, Third Space Gallery, Milwaukee, WI
Collections::
Cornell University, Ithaca, NY
Scripps College, Claremont, CA
Smith College, North Hampton, MA
UCLA Arts Library, CA
University of Washington, Seattle, WA.
University of Wisconsin, Milwaukee
Wellsley College, MA
Wesleyan University, Middletown, CT

The Passion Project
The Magazine
2001, collage, color photocopy, edition of 14, 14 pages, 10 3/4 x 8 1/2 inches. Fashion is crucified in a transmogrification of modeling pose to anorexic passion, stigmatized models exemplify the ubiquitous bodily sacrifice to literal and metaphoric consumption.
Exhibitions:
Nov. 2004/March 2005, Hilyer Art Library, Smith College, Northampton, MA
Feb./March 2004, Third Space Gallery, Milwaukee, WI
November, 2003, Rutgers University, Dana Library, Newark, New Jersey
Collections::
Smith College, North Hampton, MA,
Swarthmore College, PA

The Installation of 12 collage ‘relics’
2000-2001. The collages combine calligraphy and multiple coats of acrylic ink on found, cut and otherwise treated magazine pages. They are modern relics of fashion martyrdom. Various sizes from 8’x10" to 3" x 3". The ‘relics’ are installed in a small (6 foot wide by twelve feet long) crypt-like room that is entirely black and keep cold by a small air conditioner whose sound is masked by a recorded sound loop of the indistinguishable murmurs of a whispering crowd. The collage relics are discreetly spotlighted so that there is no other ambient light. The effect is one of walking through an underground tomb looking at religious relics. As the viewers wander through a World’s Fair/Disney-like recreation of a cold dank Roman crypt they witness fashion icons crucified in a transmogrification of modeling pose to anorexic passion. The stigmatized models exemplify the ubiquitous bodily sacrifice to both literal and metaphoric consumption, while the walk through the tomb re-inscribes the epiphany of religious tourism.
Exhibitions:
Feb./March 2004, Jody Monroe Gallery, Milwaukee, WI

The Nervous System, 2002, multi-media, 2nd ed. of 9, 40 pages, with Kurt Allerslev and Christopher Wilde. Multiplely printed, over-laid, and reprinted with Fiery digital printers, relief press, hand calligraphy, black and white photocopy machines, the Nervous Systemsmells of ink and sweat sweet sour electricity. Lush dense compositions explore the interconnectedness of nerve form, flower structure, letterform and the cognitive processes of human imagination.
Exhibitions:
2002 - Parallel Botany exhibit, Bryn Mawr College, Bryn Mawr, PA
2001 - Growing Books exhibition, University of Massachusetts, Amherst
- Rare Books of the Future, Center for Book Arts, N.Y., NY
Collections::
Loisiana State University, Baton Rouge
Minneapolis College of Art and Design, MN
Sackner Archive of Visual Poetry, Miami, FL
Scripps College, Claremont, CA
Smith College, Northampton, MA
University of Washington, Seattle
Temple University, Philadelphia, PA
University of California, San Diego
University of California, Santa Barbara
University of Minnesota, Minneapolis

The
C A T A L O G

The Catalog is a simulacrum mail order fashion catalog of color photocopied collages constructed from the pages of various ‘real’ mail order catalogs and other magazine sources. Published by Artichoke Yink Press

The Catalog...is a takeoff of a women's fashion catalog...it uses photo-collage to give us page after page of models whose clothes appear to be dissolving into the landscapes or cityscapes in which they stand. Occasionally it is the clothes that remain natural while the women’s skin dissolves into the surrounding sky. Slickly produced, the catalog would pass at a glance for the real thing-but its lyrical images, while identifiable as "fashion" photos, are unmistakably metaphors for the dissolution of the subject into the products she consumes. In paying equal attention to the rules of art and politics-including meeting the commercial world on its own terms-this is a piece worthy of Guy Debord." - Tom McTaggart, December 5, 1996, "The Stranger", a weekly newspaper from Seattle, WA
Collections:
1. Brooklyn Museum of Art, NY
2. Center for the Book, University of Iowa, Iowa City
3. Gimbel Library of the Parson’s School of Design, NY, NY
4. Golda Meir Library, Milwaukee, Wisconsin
5. Houghton Art Library, Harvard University, Cambridge, Massachusetts
6. Kohler Arts Library, Madison, WI
7. Long Island University Library, NY
8. Museum of Modern Art, NY, NY
9. Newberry Library, Chicago, IL
10. New York Public Library,
11. Spencer Collection, NY, NY
12. New York University, Fales Library,
13. Newark Public Library, New Jersey
14. Rhode Island School of Design Library, Providence
15. Pratt Institute, Brooklyn NY
16. Printed Matter, NY, NY
17. San Francisco Museum of Modern Art, CA
18. Show N’ Tell Gallery, Budapest, Hungary
19. Stanford University, Green Library, Palo Alto, CA
20. Sterling Rare Book Library, Yale University
21. Ubu Gallery, NY, NY
22. Victoria and Albert Museum of Art, London, Great Britain
23. Walker Art Center, Minneapolis, MN
24. Wellsley College, Wellsley, MA
Exhibitions:
Nov. 2004/March 2005, Hilyer Art Library, Smith College, Northampton, MA
2004 – Third Space Gallery, Milwaukee, WI
2002 – Wellsley College, Wellsley, MA
– Minneapolis Institute of Art, Minnesota
– Center for Book Arts, NYC
2000 – Brooklyn Museum of Art, NY
1998 – Gimbel Library, Parsons School of Design, NYC
1997 – Printed Matter, NYC
1996 – Center on Contemporary Arts, Seattle, Washington

Issue #1, 1996, The blue cover, ed. of 8, 40 pages, 8 1/4 x 10 11/16". Out of print.
Issue #2, 1997, The blue cover, ed. of 50, 40 pages, 8 1/4 x 10 11/16"
Issue #3, 1997, ed. of 11, 56 pages, 8 1/2 x 10 11/16" printed from original collages, with contributions by Christopher Wilde and Mark Wagner. Out of print.
Issue #4, 1998, ed. of 53, 56 pages, 8 1/2 x 10 11/16" with contributions by Christopher Wilde and Mark Wagner.

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House of Ghosts, 2000, box – 20 x 9 x 3 inches, book – 11 x 14” inches, a collaboration with Mark Wagner. A unique artists' book and box, metal fixtures, Plexiglas, various papers, calligraphy, chalk, charcoal, collage, drawing, pencil, ink. Concept, documents, pages and text, calligraphy and collage by Weber, binding, book and box construction, by Wagner.

“In House of Ghosts,…the wood assemblage was intended for another sculptural object that didn’t fit, but now houses a unique book residing in the assemblage shaped like a house. The pieces of wood are parts from various lathes, pictures frames and rulers. A book rests inside a box with a Plexiglas window, a found brass fixture in the shape of a skull over the opening of the niche. The concept, documents, text, calligraphy, collage and pages treated with ink, chalk, charcoal and pencil are by Marshall Weber; the binding and box construction by Mark Wagner. The poem is written in a codex book sewn on linen tapes from a variety of papers with hand-drawn architectural plans. The underlying conceit for book and box is the architectural structure of the house as a metaphor for the human body in which a journey of psychic exile and repatriation traverses the interior emotional terrain of the body. The skin acts as pages together with a physiological substratum upon which the story is written, a literal embodiment of a narrative map.” - Constance Woo, Dean of Libraries, Long Island University, unpublished paper for the Rutgers Book Arts Symposium, 2003
Exhibitions:
April/July, 2010, The Invisible World Revealed: Selected works of the Occult from the William Andrews Clark Memorial Library, L.A., CA
Feb./March, 2003, Third Space Book Arts Gallery, Milwaukee, WI
November, 2003, Rutgers University, Dana Library, Newark, NJ
January, 2002, Center for Book Arts, NYC

THE EDITIONED VERSION
A collaboration of Marshall Weber and Christopher Wilde. The edition of House of Ghosts is an exemplary Booklyn publication in that it aesthetically integrates book structure and content into a resonant composition by combining traditional and digital media. The typography and book design was created by Christopher Wilde, and the covers were designed and relief printed by Mark Wagner.

First edition: 2000, 6 x 8 3/4 inches, edition of 50, black and white Epsom ink jet printing over penciled found architectural drawings on onion skin paper. The text is printed backwards on architectural drawings of suburban New Jersey development houses circa 1986. The pliable onionskin paper is then folded over so one sees the ghostly text floating behind the faint drawings. With a relief printed Mylar cover and Japanese stab binding.

Second edition: 2002, 8 x 8 3/4 inches, edition of 35, black and white Epsom ink jet printing on blueprints of the Manhattan water treatment plant. The text is matched and printed backwards on every verso page giving the illusion of transparency to the pages. With a relief printed Mylar cover and Japanese stab binding.
Selected collections:
Amherst College, Northampton, MA, (2nd ed.)
Arthur and Mata Jafffe Collection of Books as Aesthetic Objects, Florida Atlantic University, Boca Raton, FL
Doug Beube, private, Brooklyn,. NY
California College of Arts and Crafts, Oakland, CA
Clark Library, University of California at Los Angeles
Cornell University, Ithaca, NY
Marjorie Cohen, private, Boston, MA
Middlebury College, Vermont, (2nd ed.)
Museum of Modern Art, NYC
New York University, Fales Library, NY, NY
New York Public Library, NY
Scripps College, California (2nd ed.)
Smith College, Northampton, MA (2nd ed.)
Stanford University, Palo Alto, CA
Sterling Memorial Library, Yale University, New Haven, CT
Swarthmore College, Swarthmore, PA
Syracuse University, NY
Temple University, Philadelphia, PA
University of California at Los Angeles, Clark Memorial Library
University of Minnesota, Minneapolis, MN
University of Washington, Seattle
University Of Wisconsin, Milwaukee
Wesleyan University, Middletown, CT
Exhibitions:
Feb./March, 2003, Third Space Book Arts Gallery, Milwaukee, WI
November, 2003, Rutgers University, Dana Library, NYC
January, 2002, Center for Book Arts, NYC
February, 2001, Silicon Gallery, Brooklyn, New York
March, 2001, Silicon Gallery, Baltimore, Maryland

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BIO
Marshall Weber is an interdisciplinary artist best know for his innovative artists’ books and public performance/installation works. His work often explores issues of social justice, peace studies, linguistics and theories of representation. Collected and exhibited internationally Weber was a Interdisciplinary Arts Fellow of both the New York Foundation for the Arts and the Intermedia Arts/McKnight Foundation. He has received numerous awards including grants from the National Endowment for the Arts, Art Matters and a WNET Public Television, Community Leadership Award for his work as resident artist in the Taller Boricua/Puerta Rican Workshop’s Media Art Lab collaboration with Heritage High School in East Harlem, New York City.

Weber was a co-founder and is a curator in the collection development and exhibition programs of the Booklyn Artists Alliance that is the largest non-profit artis-run international association of book artists and interdisciplinary artists who include bookart on their media palette. He is an expert on contemporary artists’ books and consults with hundreds of arts and educational institutions and collectors regarding artists’ book collection, exhibition and curriculum development.

Weber has designed curricula, taught and lectured at The School of the Art Institute of Chicago, Teachers College of Columbia University, New York University, The University of Wisconsin at Madison and many other educational institutions. His charismatic and dynamic multi-media lecture presentations on Culture Jamming, the aesthetics of creative dissent, contemporary book arts and the free and independent press, and collaborative arts practive have provoked, perplexed and inspired thousands.

Weber’s artwork work is available through Booklyn and Editions Despalles, Mainz, Germany/Paris France. His essay regarding an artist’s aesthetic of artists books was recently published in "Artists’ Book Yearbook 2003-2005", editor Sarah Bodman, 2003, Impact Press at the Centre for Fine Press Research, University of West England, Bristol, Great Britain.

Weber purchased his MFA at the San Francisco Art Institute in 1981.

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ARCHIVE

2007
Weber discusses details behind Booklyn's origins and pedagogical beliefs in an interview with Pratt Institute librarian Tony White in the Spring 2007 issue of the Journal of Artists' Books.

For Weber's recent 2007/2006 activities in the field of artists books visit Booklyn's Collection Development Archive

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Organik had a fabulous exhibit in London at Lawrence Graham Gallery, curated by Clive Jennings in April of 2007.

2006

Marshall Weber artist and director of Booklyn's Collection Development and Exhibitions Departments was the keynote speaker at the Mackay International Artists Book Forum in Mackay Australia on February 25, 2006. Weber then traveled on to Canberra to be a resident artist in a collaorative program between the Environmental Art Studio and the Edition + Artist Book Studio of Australia National University. While in Australia Weber initiated the MONUMENT project and produced an entire new body of work in collaboration with Organik and various Australian artists.

2005
In October Weber and collaborators Christopher Wilde and Kurt Allerslev recently performed "Ascension to Twilight" a site specific performance /installation at the Braunschweig Art and Design School in Germany

2004
Weber's artists book exhibit at the Third Space Book Arts Gallery, 2625 S. Greeley, Suite #304, exhibited a collection of artist books by Brooklyn, New York artist Marshall Weber. Opening February 20 in Milwaukee, WI, the show explored issues of social justice, peace studies, religion, linguistics and the supernatural. The show featured more than 25 of Weber's artist books including various collaborations. "Wearing My Heart On My Sleeve", created with pages made from t-shirts bound on a hanging wardrobe bar and Zarathustra Spake Thus", a unique book created in ink on a ceramic skull were on exhibit.

In addition to the Third Space Book Arts Gallery show, Weber, and artist Doug Schall presented an exhibit of painting, print, sculpture and installation at the Jody Monroe Gallery, 631 East Center St. in Milwauke. That show opens February 20 and runs through April 23.

2003
Weber's comments at the New Jersey Book Arts Symposium.

1984
Before Booklyn there was Artists Television Access

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DETAILS FOR THE ULYSSES CYCLE

Back to Ulysses Cycle
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Back to Ulysses Cycle
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A 24 hour duration performance made on August, 1996, at the Cleveland Performance Art Festival in and around the neighborhood of the Colonial Arcade, Ohio. A free, out-loud, public reading of Friedrich Nietzsche's "Thus Spake Zarathustra" (in English). To further physicalize the act of reading I used a unique portable podium harness; the text literally floated in front of me and the crowd as I paced and recited. Hosts, comfortable seating, and free beverages provided an intimate atmosphere to facilitate listening, discussions, and questions which I encouraged and led during breaks between chapters.

The primary performance room was painted black with quotes from the text on the top half of the walls and space on the bottom part for audience members to respond to in chalk. Over 2,300 people attended the event.

the shallows, more details, back to the shallows
"the shallows" was a 2 week installation piece culminating in a 24 hour continuous out-loud, free, public reading of the book "The Rifles" by William T. Vollmann, in a 8 foot wide by 8 foot tall by 48 foot long refrigerator truck cabin kept at below freezing temperatures.

The interior of the truck contained a ‘ship’s hold’ constructed of weathered planks, 1 foot thick and 3 foot high tombstone like ice walls and a floor of ice and snow arranged to recreate the ice bound shipwreck of the H.M.S. Erebus. The H.M.S. Erebus was the flagship of the doomed Franklin Expedition of 1847, it was lost with the H.M.S. Terror near King William’s Island in northern Canada.

100 artifacts similar to those mentioned in "The Rifles," were collected from donors in the Edmonton area, then tagged, cataloged, displayed and finally frozen in the ice floor and walls of the installation in a kind of reverse Arctic archeological dig. A sealskin, walrus horn, and polar bear teeth from Grise Fiord (the furthest northern town of the Northwest Territories featured prominently in "The Rifles"), various antique nautical, railroad, and hunting artifacts, and a memorial of 129 cans of frozen food each with a name of a crew member from the Expedition were frozen in ice walls (the disaster resulted from lead poisoning caused by lead solder in the crews provision cans, the entire crew of both ships perished).

The book was recited primarily in a lifeboat that was ripped in half near a frozen campsite in the ‘shipwreck’ at the far end of the interior of the truck. The rest of the interior was accessible to the audience. Three quarters through the recital the freezer unit of the truck was turned off and the ice was allowed to melt further revealing the artifacts. The average 15 degrees Fahrenheit temperature inside the truck contrasted greatly with the 80 degree temperature outside. Over 7,000 people attended the installation on Winston Churchill Square, (the major downtown square in Edmonton and the primary 1998 Works Festival site) with over 2,000 of them coming up the gangway, exiting a hot July summer day, entering the freezing installation and viewing the performance.

back to The New York City Iliad and Odyssey
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Starting at sunrise on Tuesday August 31, 2004, at the Vietnam Veterans War Memorial Plaza, on 55 Water Street in downtown Manhattan, artist Marshall Weber did a non-stop marathon out loud reading (in English) of Homer's entire Iliad and Odyssey one of the most compelling anti-war and return of the 'hero' stories ever written. After completing the Iliad Weber walked to the Whitehall Ferry Terminal in Manhattan and read Homer's Odyssey while riding on the Staten Island Ferry. In this memorial reading, which was dedicated to ALL the victims of recent acts of war, including those victims of the nearby World Trade Center bombings, Weber evoked a critical historical context for the reconsideration of the USA's current military policies.

The entire performance took about 46 hours and had an audience (of various durations and attention spans) in the thousands and received numerous national and local print and radio media attention. thus the concept of providing a larger historical and mythical context for the current US/Iraqui war was evoked with some attendant publicity for the New York City Vietnam Veterans Memorial.

This event was sponsored by Imagine Festival of Arts, Issues & Ideas a citywide cultural festival that inspired, instigated and supported civic engagement. From August 28-September 2 the Imagine Festival presented over 100 cultural events in 6 days, that included concerts, performances, forums, town meetings, exhibits, screenings, and other issue-based artworks. (The Festival was discontinued in 2006.)

...in a festival of what may well turn out to be 100 events,The NYC
Iliad and Odyssey
may well be the most eccentric, notable and oddly
impressive.
Chris Wangro, Imagine Festival, Executive Producer, in an Associated Press National Wire Report, August 8th, 2004.

Date and times:
The Iliad, started at sunrise on Tuesday August 31, 2004, 5:23 AM and ran 24 hours to sunrise (about 5:30AM) Wednesday September 1, at the Vietnam Veteran's War Memorial Plaza, on 55 Water Street, Lower Manhattan, New York City

The Odyssey, started on Wednesday September 1, 2004, at (about 6:00AM) and ran till Thursday September 2, at 4:00AM (approximately 22 hours), on the Staten Island Ferry, running from Whitehall Ferry Terminal in Manhattan to Saint George Terminal on Staten Island. There was a lot of careening around the Terminal buldings as the ferry's were emptied at each stop. The event was free (the Staten Island Ferry is free) no tickets were necessary.

Thanks to all the volunteers that assisted in the documentation, provision of security and the care of the performer during the performance.

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Photograph by Emily K. Larned

Wordly Protest

Marshall Weber got up before the sun Tuesday morning. He waited four years for this day to arrive. He slipped on a worn pair of jeans, a brown button down shirt, and Birkenstock sandals. He grabbed a black rucksack to take with him for the next three days of no sleep. He threw in water, pineapple juice (an opera singer told him it’s a good cure for a tired voice), trail mix, an umbrella, a sweater, and most importantly, his copy of the Iliad with “NYC ILIAD” scrawled in chalk across the back. At 4:30 a.m. he left his apartment in Greenwich Village and headed south on the R train to Whitehall Street.

An excess of security stood guard next to empty tables at the entrance of the downtown skyscrapers. In a few hours, when the workday was due to start, those tables will become heaped with the insides of pockets and purses. But Weber wasn’t bothered; he hardly even noticed that it was dark and pouring when he arrived at 55 Water Street. For shelter, he knelt under one of the two archways that make up the Vietnam War Memorial and with his back against the wall and his knees up to his chest, he opened Robert Fagels’ translation of “The Iliad” and began reading aloud from page one. He looked up and said, “I’ve been waiting such a long time to do this.” As he began reading again, the beat of the rain overrode his voice that no one was there to hear anyway.

Unlike the many groups of protesters that have scheduled marches, Weber is speaking out against the Republican National Convention and the wars around the world with his own style; individually. This is his third performance-commentary reading in the past eight years. His first reading was of “Ulysses” by James Joyce. In 1999 he received a grant from the New York Foundation of the Arts to perform his four-day public reading of the Bible. In this reading, sponsored by The Imagine Festival and Booklyn, Weber plans to board the Staten Island Ferry after completing “The Iliad” at the Vietnam War Memorial Plaza and begin reciting Homer’s “The Odyssey”. He expects to finish the final page on the evening of Sept. 2nd. Weber selected “The Iliad” and “The Odyssey” because they are classic anti-war books. He hopes that these books will give the public a historical context in which they will be able to re-examine present U.S. policies.

Weber closed the book, reached into his bag and took a sip from his plastic water bottle filled with juice. The rain stopped, so he got up and ran his hand across a marble bench until all the rain water fell to the ground. He sat facing the war memorial and saw the excerpts of personal letters soldiers wrote home from Vietnam carved into the opaque-blue glass. “My favorite aspect about The Iliad,” Weber said getting ready to dive back into the sea of words, “is that before a person dies there is always a two-sentence-long description of their life. It humanizes them.” He felt that at a time when the government doesn’t even allow the public to see the coffins of the war victims, remembering that humans are dying, not numbers, is important.

(Inscription on the Vietnam War Memorial)

“Dear Mom,
I’d give just about anything for a hot bath,
some clean clothes, and a cold drink of good old NYC water…”
Love,
Ray
Chu Lai, ‘68

As the day became bright, dozens of people began filing past the three-year-old monument on their way to work. No one looked in its direction, let alone that of the man reading aloud. Etelvo Quentenilla, the janitor that has cleaned the plaza for four hours every morning of the last year wasn’t even engaged, “This place doesn’t really matter to me, it’s nice, but I’m not interested in these things.”

Weber looked up with clear eyes that soon would be a maze of little red veins. “The Gods in the Iliad don’t care about death because they don’t know what mortality is like. Bush is like Zeus; he can send people off to war, but isn’t personally affected by it,” he said bridging the correlation between “The Iliad” and the current events.

Weber is waging a taxing fight. In preparation, he has been bike-riding, eating less, and getting a lot of sleep. He expects that it will take him two or three days to recover, but he believes the strain will be worth it. At the four-hour mark, the first visitor approached the memorial. Jerry Tartaglia with his eyes squinted up at the wall said, “What is this? I am walking around before I have to catch my flight home, to Milan, at four.” Marshall Weber was on page 170.

Mara Freedman, Columbia School of Journalism, September 1, 2004

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