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  • From #artforum November 10, 2010 • Aaron Flint Jamison talks about Veneer • “VENEER comes out of my love for long-term projects and anything that seems to be in progress and slowly unfolding. Books have always been very important to me, but it wasn’t until art school that I started to understand how to complicate the medium through using disparate materials and content. When I began, I was focused on the limitations of materiality, but it was also important to do it in a way that I had never seen done before.Veneer was published twice a year in 2007, 2008, and 2009. I’m currently finishing the eighth issue. After the eighteenth is produced, the project will be over. It could be said that there is a master rubric for the series, but that is an oversimplification, because I think about the ideas behind each issue on a micro and macro level.

Anyone who subscribes will receive all the back and all future issues, including ephemera that I send out between issues, such as little books that I’m working on, prints, a bookcase, and other surprises. The materials of each issue change in response to the content––different paper stocks, offset and letterpress printing techniques, bindings, and various inserts. It’s important to me that bodies interface with productuction (...)They aren’t easy to display, present, or even sell. Sort of like a lot of art that is important to me.

#Issuethree was filled with stolen advertisements from other magazines––mostly French, but also some Turkish and English. After it was printed, I letter-pressed these really boring invoices and sent them with a copy of the issue to the companies that had inadvertently advertised with us. I received quite a few cease-and-desist letters because I was reverse-advertising, invoicing for contracted monies that were never agreed upon. Subsequently, I worked with a lawyer in San Francisco to write a document to protect me from getting sued.” • “aaronflintjamison
#aaronflintjamison  #veneer #veneermagazine
www.veneermagazine.com
  • From #artforum November 10, 2010 • Aaron Flint Jamison talks about Veneer • “VENEER comes out of my love for long-term projects and anything that seems to be in progress and slowly unfolding. Books have always been very important to me, but it wasn’t until art school that I started to understand how to complicate the medium through using disparate materials and content. When I began, I was focused on the limitations of materiality, but it was also important to do it in a way that I had never seen done before.Veneer was published twice a year in 2007, 2008, and 2009. I’m currently finishing the eighth issue. After the eighteenth is produced, the project will be over. It could be said that there is a master rubric for the series, but that is an oversimplification, because I think about the ideas behind each issue on a micro and macro level.

    Anyone who subscribes will receive all the back and all future issues, including ephemera that I send out between issues, such as little books that I’m working on, prints, a bookcase, and other surprises. The materials of each issue change in response to the content––different paper stocks, offset and letterpress printing techniques, bindings, and various inserts. It’s important to me that bodies interface with productuction (...)They aren’t easy to display, present, or even sell. Sort of like a lot of art that is important to me.

    #Issuethree was filled with stolen advertisements from other magazines––mostly French, but also some Turkish and English. After it was printed, I letter-pressed these really boring invoices and sent them with a copy of the issue to the companies that had inadvertently advertised with us. I received quite a few cease-and-desist letters because I was reverse-advertising, invoicing for contracted monies that were never agreed upon. Subsequently, I worked with a lawyer in San Francisco to write a document to protect me from getting sued.” • “aaronflintjamison
    #aaronflintjamison #veneer #veneermagazine
    www.veneermagazine.com

  •  18  0  22 December, 2019
  • I love #aaronflintjamison 👽🖤👯‍♀️🖤👽♾ 🎂
  • I love #aaronflintjamison 👽🖤👯‍♀️🖤👽♾ 🎂

  •  103  6  26 November, 2019
  • Today we’re reading Aaron Flint Jamison’s “Regarding Spines” from MONDAY, Vol. 1, included as an unbound insert: "Publication makers are beholden to design and craft. To question, manipulate, and take advantage of the plethora of materials and design practices available is a defining characteristic of contemporary publication making...The audience for this kind of work of making objects with pages is growing. Buying art pieces is a luxury for more robust economic moments. The current glitchy economy could be considered a timestamp to this conversation. Intentional publications produced in multiple are definitely more accessible than individual art pieces. The nature of economic transactions between the artist and the art consumer are changing in the context of contemporary circumstances. Reacting, many artists are turning to performance and book making to communicate their ideas. There are consequences.” •
#openMONDAY #MondayReading #CurrentlyReading #JacobLawrenceGallery #AaronFlintJamison #UWSoA #ArtsUW #SeattleArt #SeattleArtist #MondayMood #binding #unbound #publishing #artistbooks #artistbooksculptures
  • Today we’re reading Aaron Flint Jamison’s “Regarding Spines” from MONDAY, Vol. 1, included as an unbound insert: "Publication makers are beholden to design and craft. To question, manipulate, and take advantage of the plethora of materials and design practices available is a defining characteristic of contemporary publication making...The audience for this kind of work of making objects with pages is growing. Buying art pieces is a luxury for more robust economic moments. The current glitchy economy could be considered a timestamp to this conversation. Intentional publications produced in multiple are definitely more accessible than individual art pieces. The nature of economic transactions between the artist and the art consumer are changing in the context of contemporary circumstances. Reacting, many artists are turning to performance and book making to communicate their ideas. There are consequences.” •
    #openMONDAY #MondayReading #CurrentlyReading #JacobLawrenceGallery #AaronFlintJamison #UWSoA #ArtsUW #SeattleArt #SeattleArtist #MondayMood #binding #unbound #publishing #artistbooks #artistbooksculptures

  •  43  0  19 November, 2019
  • „Here is a cedar door to no aperture at scale. To whatever extent I, as an artist,you, as a viewer in the country of Switzerland, or it, as a physical and heavy artwork, accept responsibility for our own complicity within this nexus of opportunism notwithstanding, I‘d like to welcome you to the chaos and darkness of our country.“ - #aaronflintjamison show: Opportunity Zones
  • „Here is a cedar door to no aperture at scale. To whatever extent I, as an artist,you, as a viewer in the country of Switzerland, or it, as a physical and heavy artwork, accept responsibility for our own complicity within this nexus of opportunism notwithstanding, I‘d like to welcome you to the chaos and darkness of our country.“ - #aaronflintjamison show: Opportunity Zones

  •  66  0  26 October, 2019
  • Aaron Flint Jamison's "Opportunity Zones" opens tomorrow at the Kunst Halle Sankt Gallen, Switzerland. 
October 26 – January 5, 2020 
Jamison’s exhibition is accompanied by the 12th edition of his serial publication “Veneer.” Image: Opportunity Zone, 2019 
#aaronflintjamison @kunsthallesanktgallen
  • Aaron Flint Jamison's "Opportunity Zones" opens tomorrow at the Kunst Halle Sankt Gallen, Switzerland.
    October 26 – January 5, 2020
    Jamison’s exhibition is accompanied by the 12th edition of his serial publication “Veneer.” Image: Opportunity Zone, 2019
    #aaronflintjamison @kunsthallesanktgallen

  •  162  1  25 October, 2019
  • If you’re in Switzerland, go for the Art Snacks on Nov 14. #aaronflintjamison
  • If you’re in Switzerland, go for the Art Snacks on Nov 14. #aaronflintjamison

  •  35  0  21 October, 2019
  • Jimmy Raskin  THE FINAL ETERNAL RETURN, 2019
One color offset, saddle stitch.  295 × 210 mm, 24pp., 2 illustrations ; Organized by Aaron Flint Jamison at Yale Union ; Printed by Gary Robbins at Container Corps  Edition of 60, signed and numbered
Special edition [PICTURED] of 10, signed and numbered with letterpress cover, wax stamp, string, includes diptych of color, archival inkjet prints, 15.5 × 12.5 in (39.37 × 31.75 cm)  Raskin imagines a pivotal moment when, rather than abiding by the cycles of The Eternal Return, the artist disappears. In The Eternal Return the subject moves from personal explorations, to the point of intuition, and returns to the planes of culture with an expressive contribution. In this experimental text, by contrast, the author points to what that impeccable moment of stillness could be: filled to the brim with inspiration, yet without the compulsion to act on it. Distance collapses. Stillness now exists within Duration. No more Desire. No Body. Here lies the final manifestation of The Eternal Return.
 On view and available @felixgaudlitz and in the Sequence bookshop. #jimmyraskin #thelasteccentric #cliches #andreribuoli #poetmode #aaronflintjamison
  • Jimmy Raskin THE FINAL ETERNAL RETURN, 2019
    One color offset, saddle stitch. 295 × 210 mm, 24pp., 2 illustrations ; Organized by Aaron Flint Jamison at Yale Union ; Printed by Gary Robbins at Container Corps Edition of 60, signed and numbered
    Special edition [PICTURED] of 10, signed and numbered with letterpress cover, wax stamp, string, includes diptych of color, archival inkjet prints, 15.5 × 12.5 in (39.37 × 31.75 cm) Raskin imagines a pivotal moment when, rather than abiding by the cycles of The Eternal Return, the artist disappears. In The Eternal Return the subject moves from personal explorations, to the point of intuition, and returns to the planes of culture with an expressive contribution. In this experimental text, by contrast, the author points to what that impeccable moment of stillness could be: filled to the brim with inspiration, yet without the compulsion to act on it. Distance collapses. Stillness now exists within Duration. No more Desire. No Body. Here lies the final manifestation of The Eternal Return.
    On view and available @felixgaudlitz and in the Sequence bookshop. #jimmyraskin #thelasteccentric #cliches #andreribuoli #poetmode #aaronflintjamison

  •  40  2  21 September, 2019
  • Jimmy Raskin and Aaron Flint Jamison are included in "Tribe-Specific" at Felix Gaudlitz, Vienna, organized by Katherine Pickard as part of @curatedby.at 2019: Circulation (opening tomorrow, 9/12). Image: Jimmy Raskin, Poetry Blushes but Never Runs Away #1, 2019
ink, wax, fiber and acetate collage on paper; 10 x 20 inches (25.4 x 50.8 cm)
@felixgaudlitz #jimmyraskin #aaronflintjamison
  • Jimmy Raskin and Aaron Flint Jamison are included in "Tribe-Specific" at Felix Gaudlitz, Vienna, organized by Katherine Pickard as part of @curatedby.at 2019: Circulation (opening tomorrow, 9/12). Image: Jimmy Raskin, Poetry Blushes but Never Runs Away #1, 2019
    ink, wax, fiber and acetate collage on paper; 10 x 20 inches (25.4 x 50.8 cm)
    @felixgaudlitz #jimmyraskin #aaronflintjamison

  •  73  2  11 September, 2019
  • #AaronFlintJamison

Station, purple wood, micro, cables, headphones, 136.0 × 50.0 × 35.0 cm, 2016
  • #AaronFlintJamison

    Station, purple wood, micro, cables, headphones, 136.0 × 50.0 × 35.0 cm, 2016

  •  66  1  30 December, 2018

Top #aaronflintjamison Posts

  • If you’re in Switzerland, go for the Art Snacks on Nov 14. #aaronflintjamison
  • If you’re in Switzerland, go for the Art Snacks on Nov 14. #aaronflintjamison

  •  35  0  21 October, 2019