Far Afield is committed to collecting and sharing publications that support experimental art practices.
Catalogues & Artist Books
(Convictions) How I am Queer Because I got Hetero-Married to my Gay Friend, by Catherine de Montreuil
Anecdotes of events related to the artist's 2014 artwork, Marriage Experiment (in collaboration with Aidan Whiteley). An intimate account of the strangeness of the commitment de Montreuil made to another person for the sake of artistic and political interrogation.
Published by Publication Studio, 2016.
Every Public Building & Some People in Bruno SK circa 2011, by Tyler Brett
Bruno Saskatchewan is a town of roughly six hundred people located about one hour east of Saskatoon. In addition to all of the public service and amenity buildings, the drawings in this book document every one of the town of Bruno’s shops as they existed in 2011.
Published by Publication Studio, 2016.
SHE ___ THE ___, by Jamey Braden
Using automatic writing from the feminist unconcious, Jamey Braden creates pointed statements that nevertheless admit a measure of ambiguity. The result is text-based works that simultaneously confront, confound, implicate, and involve the viewer.
Published by Publication Studio, 2017.
Receding Agate and Receding Rhodochrosite, by Becky Forsythe and Camila Sposati
A two-part bookwork created through a procedural performance by Becky Forsythe and Camila Sposati at the Banff Centre for Arts and Creativity.
Self-published, bound by Far Afield, 2017.
Under Starry Skies, by Liz Ryan
A community builds a fence on the outskirts of Limerick City, in a guerrilla-style takeover of land that has been stymied by bureaucratic spatial policies. Text and documentation of the fence explore the creative interplay of space and material.
Published by A.C.A. PUBLIC, Askeaton Contemporary Arts, 2017.
Stone Theatre, by Camila Sposati
Sposati's art practice investigates transformation and energy processes that simultaneously address microscopic and global scales; such as the growth of crystals in laboratories and the geological effects on the Earth's crust on different sites. A provocative extension of the artist's Teatro Anatômico (Earth Anatomical Theatre), presented at the third Bahia Biennale.
Published by Revolver Publishing, 2016.
The World Upside Down, by Richard William Hill
The world upside down, as visualized by artists, is one in which the symbolic order is turned on its head. This publication of a group exhibition surveys the strategy of symbolic inversion used by contemporary artists, while also providing historical context on Western and Indigenous North American traditions of inversion. What happens when a cannon is shot upside down?
Published by Walter Phillips Gallery, 2008.
Keith Langergraber: Theatre of the Exploding Sun, by Liz Wylie, Charlotte Townsend-Gault, Peter Morin and Ryan Doherty
The focus of this first career monograph is on Langergraber's three-part film entitled Time Traveller Trilogy. The first film, The Theatre of the Exploding Sun, centres around the artist's alter ego Eton Corrasable making a science fiction fan film that transports him to Robert Smithson's Spiral Jetty on Great Salt Lake in Utah. In the second film Eton shoots a fan film based on the novel and film by Andrei Tarkovsky Solaris. The third film explores Dr Who fandom and Robert Smithson's never realized Glass Island project.
Published by Kelowna Art Gallery, 2013.
Falling into Place, by Heather and Ivan Morison
In recent works, Heather and Ivan Morison have explored the currency of shelter and the escape vehicle – things that can either transport you physically or mentally away from the here and now and help avoid, or offer refuge, from future disaster.
Published by Bookworks and Situations, University of the West of England, 2009.
Sarah Browne: How to Use Fool's Gold, edited by Nigel Prince
Using ‘the economy’ as the basis for her artistic practice, Browne works with small communities of people, documenting resourceful forms of exchange such as gifting, subsistence, poaching and subsidies, to reveal the hidden social relations that exist in small-scale economic structures.
Published by Ikon Gallery, 2012.
Fernando Ortega, SAM Art Projects
A catalogue on the work of artist, Fernando Ortega, on the occasion of his exhibition Fruite/Leak at the Palais de Tokyo. Includes a wonderful essay, "The flight of a fly in negative space" by Marc-Olivier Wahler.
Published by SAM Art Collections, 2012.
For the Birds, by Sean Lynch & Tom Fitzgerald
Exhibition catalogue for Sean Lynch's work, For the Birds (2014), a recorded performance within the context of a large-scale, collaborative installation. A lovely publication with some excellent images of cows looking at sculpture, and bare feet stepping in the muck.
Published by VISUAL Centre for Contemporary Art, Carlow, 2015.
Grow: DIY Manual, edited by Holly Schmidt
A Farmer's Almanac version of an exhibition catalogue for Holly Schmidt's Grow DIY. A mix of practical instructions for compostable planters, simple recipes, a background on the context of the project, and a conversation on emergent artistic practices. with contributions from Barbara Cole, Randy Lee Cutler, Alexander McNaughton, and Magnolia Parker.
Published by Other Sights for Artists' Projects, 2014.
Lost Illusions: Recent Landscape Art, edited by Denise Oleksijczuk.
An exhibition catalogue featuring works by Renee Green, Hachivi Edgar Heap of Birds, John Miller, Eleanor Bond, Lawrence Paul Yuxweluptun, Jeff Wall, Rasheed Araeen, Rodney Graham, and Deborah Bright.
Published by Vancouver Art Gallery, 1991.
Germaine Koh: Fallow, edited by Cate Rimmer and Kathy Slade
Documentation of Germaine Koh’s large-scale installation work titled Fallow. Vegetation and soil from a vacant lot are transplanted into the "neutral" white-cube space of the Charles H. Scott Gallery, Vancouver. A descriptive account of what begins to bloom, from smells to bugs, offered by the Curator of the exhibition, Cate Rimmer.
Published by ECU Press and Charles H. Scott Gallery, 2012.
Digital Natives, edited by Lorna Brown and Clint Burnham
Documentation of "Digital Natives," a public art project that took place in April, 2011 near the Burrard Street Bridge on a Sḵwx̱wú7mesh Nation billboard. Susan Roy provides a history of the Kitsilano Indian Reserve, and how what was once a space that was frequently traversed by Coast Salish peoples, has been fragmented and divided over time. Other contributions also from Barbara Cole, Clint Burnham, Lorna Brown, Candice Hopkins and Susan Roy.
Published by Other Sights for Artists' Projects, 2011.