ORGANIK, Brooklyn, NY
is Kurt Allerslev, Marshall Weber, C. K. Wilde and guests. As the name spontaneous art-making group, with spice, natural material and on the streets globally trace-image sampling. Unique artists book, drawing, installation, painting, and performance making in a collaboratively, telepathic relation, non-authorial. Ideas, ecological and theological from direct action to meandering. Group has a hard time not using yellow.
"Organik artists persuade by the love they press into their books. The enormous intensity, the directness and the simple truth of their work dominates any doubts because of their unexpected ways of breaking the rules of common bookmaking. Their books and all their writing have to be seen as acts of revolution; a revolution against indifference to the power of hand-writing and the boundary-breaking mission of a thoroughly made artists book."
—Stefan Soltek, Director, Klingspor Museum, Offenbach, Germany
Organik is showing at Gallery Andante in Seoul, Despalles Editions in Paris and other inside and outside.
Vegetable Mind, ongoing
Write Now, Offenbach, Germany, 2009
Kann Denn Liebe Sunde Sein, Performance, Offenbach, 2009
Spice Cave, Seoul, 2008
Spice Cave, Paris, 2007
Spice Cave, Apollinaire Performance, Paris, 2007
Angels Camp: Mark Clemens/Samuel Twain
The Germknodel Incident
Surrounded By Water
The Bible in Hell
Fire and Blood
House of Cards
Buy Land or Buy Sea
A book From a Cave
Figures Of Speech
The Wheel of Knives
Where is my body?
A riddle for Kalki
Light from a star
THIS IS NOT A BOOK
Don't make me disappear
Balm: the Flower Folio
Life Masks, plaster and spices, with Cat Glennon, from top, Christopher Turmeric, Marshall Cayenne, Cat Hand Salt Mudra, Kurt Cinnamon
Homage to Appollinaire, with Ruth Lingen, 17 x 23 inches, graphite, wax crayon on handmade paper, rubbing of Appollinaire’s tombstone at Le Père Lachaise Cemetery, Paris
Spice Cave, Homage to Apollinaire, performance by Kurt Allerslev, Marshall Weber, Christopher Wilde, on rue Sainte-Anastase, October, 2007
Turmeric handprints and chalk, quote from Apolinaire's poem "Les Collines" (also found on his gravestone see above.)
Cinnamon Buddha for the West Gate and Mudra, 2008
Cinnamon Buddha for the West Gate, 2008
The Spice Cave Paintings, 2008
The Second Cave Window, 2008
The First Cave Window, 2008, detail
The Cave Door, 2008, detail
The Second Cave Window, 2008, detail
The Bible in Hell
While demons are not permitted on earth in fleshed form their possession of multi-national corporations has proven to be their most effective means of earthly manifestation. By revealing the evil of these incarnations hopefully inspiration for their exorcisms might be catalyzed.
The book reveals the pairings of the hellish demons with their earthly multinational corporations that they possess. So Bael (the leader of the infernal, the largest beast) manifests in corporate form on earth as Walmart, a retail demon of vast proportions, the largest corporation on earth and a destroyer of legions.
2008, 30 pages, 10 x 18 inches, unique, with Isabelle Weber and others. The Bible in Hell may be consulted at the Denison Library of Scripps College in Claremont, California.
Latin aleatorius of a gambler, from aleator gambler, from alea a dice game
1 : depending on an uncertain event or contingency as to both profit and loss
2 : relating to luck and especially to bad luck
Control is an exercise in out-of-controlness, layering multiple images in an aleatory* lushness punctuated with calligraphy referencing Buddhist scriptures about emptiness and the ever changing nature of the universe. The scale of the imagery ranges from sub-atomic to galactic with elements from the annals of science to the dark fantasies of painter Laura Smith. The text is a fragment of a future character's chain-of-thought, a string into another thirsty universe.
Variant edition of 2 original and laser printed facsimile edition of 2, 2008, 40 pages
Artists: Organik (Kurt Allerslev, Marshall Weber, Christopher K. Wilde) and Laura Smith.
Authors: Laura Smith, Marshall Weber
Media: digital printing techniques, drawing, markers, multimedia painting, painting, wax crayon rubbing) composed of imagery and text gathered in New York City and off the internet.
Binding: M.Wager-staple and tape stylee by Cat Glennon
The unique books are shelved at the University of Iowa, Iowa City, and with Duke Collier in Newton, Massachusetts. The two facsimiles are in the collections of Jaffe Center for Book Arts, Florida Atlantic University, and the Winchester School of Art, England
the weight of an atmosphere
woven with sunlight and darkness
the imagined taste
of your last quiet exhale...
As a person is writing a love poem letter, it mutates into a suicide note.
2008, 30 pages, 10 x 18 inches, unique.
Made from Kasaban-Kozo-Paper (kasaban is the size and kozo the fiber) made in Shikoku, Japan. The covers are thick Nepalese Lokta paper dyed with natural inks like shoen-ink (black), kurumi (walnut - dark brown) and khaki-shibu (made from the Khaki fruit - reddish brown). All papers procured by Veronika Schäpers in Tokyo, Japan. Book design, binding and hand sewing (with a white cord in a semi-exposed pamphlet stitch), also by Veronika Schäpers.
I imagine jumping off into the water
the end can’t come soon enough
all this bullshit, this isn’t life
so killing myself wouldn’t be death
Media: various pens and markers, ink, turmeric and cayenne paint, graphite and wax rubbings from the walls surrounding the former Dachau NAZI concentration camp outside of Munich, Germany.
Desire was a big hit at the 2008 Seoul International Book Art Fair
The book concept and page design, calligraphy, collage, ink painting and text were channeled through Marshall Weber, with wire shape branding, birch bark applications and various other activations by Kurt Allerslev (washes of tea and turmeric), and Christopher Wilde (note the brushstrokes of yellow ocher and so on). Footprints and handprints by Marshall Weber, Kurt Allerslev, Christopher Wilde, Zon, Allison, and Ellen. The book now resides in the collection of the University of San Diego, CA.
...a relic of disaster, the smell of civilization burning. Hand written in German and English the book evokes the raven rising from the ashes only to eat them.
Stories of the genocide of Native Americans as told by the somewhat unsympathetic artist George Caitlan (who spent most of the 1800’s traveling through the Native American nations witnessing their destruction) are interspersed with Weber’s post-9/11 panic inspired meditation on brutality.
...I am the rifle shot cracking the windshield of your car as it rounds out of the dark curve of the wooded suburban highway...
Artists: Organik with Eliana Perez, Sara Parkel, authors: Marshall Weber, with text from the George Caitlan Indian Gallery (Report to the Smithsonian Institution), 1885
Drawings by Eiana Perez; sewn binding, and decorated, machine sewn, soft canvas covers by Sara Parkel, unique, various papers, 22 pages, 10 X 8 inches, variant page measurements, two joined page sections.
Media includes aspiration, digital ink jet photo-printing, drawing, mono-printing, painting, and rubbings with black pepper, curry powder, graphite, shellac, various inks, blessed ochre pigments from Australia, turmeric, wax crayon, wire branding by Christopher Wilde and Kurt Allerslev, calligraphy by Marshall Weber. In the collection of Jack Ginsberg, Johannesburg, South Africa.
House of Cards
Using a variety of handmade papers from around the world, the experimental calligraphy is woven into a dense hand painted and mono-printed environment. The book is its own subject matter, a house of cards, a codex with a problematic love affair. The book borrows the lyrics from a song written by lead singer Thom Yorke from the band Radio Head. Binding by Sara Parkel.
At the 2008 Seoul International Book Art Fair, a young man jammed to the book for about two hours, reading the book while listening to the Radiohead song repeatedly.
Other kids enjoyed the oblique tome as well!
The book now rocks out at the University of Iowa in Iowa City.
Pantheon places a cavalcade of historical figures and events into the diminutive temple of a book. Using people and events as symbols of emotional states associated with passion and drawing a metaphorical cat’s cradle of the relations between the letter and botanical form, and the human body and the body politic. Thus we move from Rousseau as embodying nature, flowers and romance, to 9/11 representing fire and disaster to the vast river and sewer systems of Seoul taking their place as the icon of the vitalizing element of water. With texts in Arabic, English, French, Korean and Spanish.
Trace samplings (microscopic samples of each geographic location) and wax and graphite rubbings from monuments and plaques in: Frankfurt, Germany; Manhattan, New York, USA (including the 9/11 Firefighters’ Memorial); Paris, France; Seoul, Korea; Weimar, Germany (including the Hafiz-Goethe Memorial)
Unique, 2008, 28 pages, 19.5 x 13 inches, calligraphy by Eliana Perez, poem by Marshall Weber, Spanish translation of poem by Eliana Perez and Alejandro Garcia, binding by Sara Parkel. In the collection of the Bayerischestaats Bibliothek, Munich, Germany.
Rubbings from monuments and plaques along Route 49 (the Gold Rush 49’er highway) in the Sierras of California and the peak of Mount Diablo further west of the Sierras in the Coastal Range.
The rubbings were made during the summer fire season of 2008, with the artist following the diminishing fires from the south to the north. Back in the studio Organik’s signature pigments (turmeric and beet juice) were applied with flourish and an almost complete lack of restraint.
Art and book design by Marshall Weber, unique, 2008, 24 pages, 13 x 12 inches. Collection of the Athenaeum Music & Arts Library, La Jolla, CA
Fire and Blood
Following the links in the chain of towns that formed the 1849 Gold Rush route, this is a snaking violent, fire-ridden history of the true Wild West. The text and images are composed from trace samplings (microscopic samples of each geographic location) and wax rubbings from gravestones, monuments and plaques along what is now called Route 49 in the Sierras of California.
Made during the summer fire season of 2008, with the artist, Marshall Weber, following the diminishing fires from the south to the north. Back in the Booklyn studio signature Organik pigments (turmeric and beet juice) were applied with a flourish.
Unique, 2008, 12 pages, 11 x 14 inches, Brooklyn, New York. Other sources include the big tree memorial in Sacramento. In the collection of the University of California, Berkeley.
An abstract meditation of oblique fragments of American history related to exhalation and exasperation.
Text by Marshall Weber with lyric fragments from the Rolling Stones song Gimme Shelter by Mick Jagger and Keith Richards.
Calligraphy and drawings by Marshall Weber including images hand copied from the George Caitlan Indian Gallery (Report to the Smithsonian Institution), 1885.
Unique, 18 pages, 6 X 8 inches, various papers, variant page size, assorted layered page constructions, binding and page waxing by Sara Parkel
Media: aspiration, digital ink jet photo-printing, drawing, mono-printing, painting, and rubbings with black pepper, curry powder, graphite, shellac, various inks, blessed ochre pigments from Australia, turmeric, wax crayon, wire branding by Christopher Wilde and Kurt Allerslev. In the collection of the Thomas Dodd Research Center at the University of Connecticut, Storrs.
Angels Camp: Mark Clemens/Samuel Twain
“Yes, literally, they are true, that is to say they are a product of my impressions…”
—Samuel Clemens, deposition, June 7, 1909, Fentress Land Company, et. al. vs. Bruno Gernt
Angels Camp is both a 100 year birth memorial and a poetic conflation of the life of American iconoclast Samuel Langhorne Clemens best known as writer and “commentarian” Mark Twain. The book is, like many Organik historical projects, homage to the material histories surrounding us. Twain, one might assume, would have appreciated the poems and collages created by the various memorials to his legacy ranging from the Sierras in California where his legend grew large to his end place in New York. After all it’s a visual parallel to his recently published meandering autobiography.
Locations of outdoor matrix sources for wax rubbings—
Angel’s Camp, CA:
Angel’s Camp Hotel, CA registered historical landmark marker # 734,
Jumping Frog of Calaveras County contest winner plaques
Chinatown, Los Angeles, CA,
various signs and architectural features
Mark Twain / Bret Harte Trail, CA. State historical marker #138
Mark Twain Cabin, CA. State historical marker, also numbered #138
Elmira, New York,
Woodlawn Cemetery, Twain family tombstones
Twain birthplace, MO State historical marker
Mark Twain State Park, Twain birth-home shrine, MO State historical marker
Mark Twain State Park, biographical MO State historical plaque
Twain boyhood home, MO State historical marker
Reconstruction of whitewashed board fence at the Twain boyhood home
Twain Riverboat Pilot sculpture plaque
Twain boyhood home, Tom Sawyer historical plaque
Mark Twain House National Park Service historical marker
Menlo Park, CA,
Stanford University, Herbert Hoover’s Presidential Seal, Hoover Tower
San Francisco, CA,
Mission Dolores and Ramatush Native Californian marker #327-1
Mark Twain Cabin Site, local historical marker
2011, 20” x 14.75” x .7”, 14 pages, unique
Media: cayenne, paprika and turmeric suspensions using polyvinyl acrylic and water, black Japanese ink, wax and graphite rubbings.
Paper: Japanese Shikoku, front endpaper: walnut Cave Paper
Binding: Christopher Wilde, Alhambra CA, covers: silk paper, details in calf leather
The Germknodel Incident
“I was six, in uncomfortable lederhosen and too big hiking boots, sitting at a heavy oak table, covered with white cotton doily-laden cloth, and surrounded by my family.”
Thus innocently, starts Christopher Wilde’s childhood tale of personal and historical existential epiphany via sugar, poppy seeds and Hegel.
An Organik with guests. Calligraphy by Eliana Perez.
Trace samplings (microscopic samples of each geographic location) and wax and graphite rubbings from monuments and plaques in: Manhattan, New York - Union history plaques at Union Square; Brooklyn, New York - various manhole covers and architectural motifs; Telluride, Colorado - mountain plaque; Seoul, Korea - (various locations); Germany: Berlin - the Hegel memorial, Dresden - Frauenkirche memorial plaque, Leipzig - various locations.
"Surrounding my eating and drinking family were walls of bright,rough white plaster- covered from wainscoting to high exposed beam ceiling with the sawed off horns and hoofs and skulls of thousands of small herbivores locally prized for their tender flesh and, apparently, their keratin.
Binding and cover art by Sara Parkel. 24 pages, 10 x 23 inches. Collection of the University of Minnesota at Minneapolis.
Surrounded By Water
Surrounded By Water collides imagery and text rubbed from memorial plaques, walls, streets, and buildings in New York City (New Amsterdam) with (Old) Amsterdam in the Netherlands. Using graphite and wax rubbing blocks, the artists compose complicated and layered compositions and posit metaphorical connections between the Dutch colonists and the history of New York City.
The rubbing debosses the opposite side of the page, taking trace samplings from the point of creation; the book is literally embedded with pieces of Old and New Amsterdam. The pages are "Beeholder" paper made of cotton, hemp, and an entire haircut's worth of C.K.W.'s hair, a genetic signature embedded in the pulp. Assorted sheets have the two-handed watermark. The paper was formed in Stevens Point, WI with Jeff Morin. The binding is a Christopher Wilde tour de force. Unique, 11.5 x 18 inches, 18 pages. Collection of the University of Minnesota at Minneapolis.
She looks into the cave
she watches the stick figures on the walls mutate into alphabets
She thinks about thinking
about the galloping golden horse in her head
she turns to look at the veldt
she sees the herds writing
across the horizon
she feels the wind paging the leaves
over and over again
as the lightening letters rain
Turmeric and cinnamon impasto forms the veldt upon which the xylene transfers and hand painted characters cross. Marshall and Isabelle Weber and Kurt Allerslev compose. The bark on the covers comes from a Prunus virginianum (chokecherry) that Kurt cut down for firewood in New York State. 30 x 26 inches, 12 pages.
Exhibited at the University of California, Santa Cruz's, Sesnon Gallery Book as Medium exhibit, 2010
A meditation on the planet Venus and all her metaphorical associations.
“The sun revolves around her,
it pours from her eyes,
the sun rises between her lips.”
The original painted paper for this book appeared as wall paintings in Organik's Spice Cave exhibit at Gallery Andante in Seoul Korea in 2008.
Thick layers of impasto turmeric and cayenne pigment suspended in Polyvinyl Acrylic were layered onto the sheets. A few months later the large sheets were returned to Organik's studio in Brooklyn and they were torn down into page size sheets. Then over the course of a year, after much research on the geography of the planet Venus, (primarily through recent NASA satellite photography) the collaborators painted collectively on the sheets in weekly and bi-weekly studio meetings.
Art: Kurt Allerslev, Laura Smith, Marshall Weber, text and calligraphy: Weber, binding: Allerslev, unique, 10 pages, 17 X 12 inches.
Media: Korean mulberry and cellulose paper, acrylic paints, pencil, walnut ink, Japanese black ink, human blood, turmeric and cayenne pigment suspended in Polyvinyl Acrylic, graphite dust painting, and other media. Techniques include body printing, aspiration, zylene graphite transfer, and multiple layering of media. Venus can be enjoyed at the Special Collections Library of the University of Miami, Florida.
Exhibited at the University of Miami, That's a Book?, exhibit, March, 2010. More photos of the book at University of Miami
This page is maintained by Marshall Weber.