Emily Artinian ~ Delaware  
   
Occupy series  
   
Junk Swap
By Lin Charlston and Emily Artinian
Wilmington, Delaware: Emily Artinian/Lin Charlston, 2013. Open edition.

Two-book set documenting "Discarded objects collected by Emily Artinian, Chicago, Illinois, April 2012, and by Lin Charlston in Ludlow, Shropshire, June 2012."

Junk Swap One by Lin Charlston
7.5 x 7.5"; 19 leaves including cover pages. Spiral bound.
Junk Swap Two by Emily Artinian
7.5 x 7.5"; 20 pages. Black and white glossy covers.

Emily Artinian: "A series of recent projects asks viewers and participants to re-see – and in some sense to un-see – the objects around them. Just what is it that creates value? Objection to the status quo, welcome here. ...

"
Junk Swap is a collaboration with Lin Charlston, and open to anyone to join. Take a walk, collect detritus, map your walk, and join in the project.

"In 2012 we began a book project related to the object exchange. You are invited to join us.
Junk Swap started with a collecting walk in Chicago, followed by a mirror walk in Ludlow, another in Chicago, and so on."

Add your own walk, objects, and book to the series.
1. Choose an existing Junk Swap set to start from (scroll down).
2. Email us at hello@giveandget.ws.
3. We will send you jpegs of your chosen object set, a map of the walk where those objects were collected, and a Junk Swap number (Junk Swap 6, Junk Swap 57, etc)
4. Make a book of the objects collected your walk
5. Include a new map of your walk
6. Dimensions: 7.5" x 7.5"
7. Please send two copies for our archive, and jpegs of your collected objects. If practicable, please send us the actual objects. Address will be supplied with your series number.

$70 Set (Book One and Book Two)
$40 Book One
$40 Book Two

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Hold On
By Emily Artinian
[London]: Emily Artinian, [2009]. Open Edition.

11 x 8 x 1.5"; 18 pages. Inkjet print on Moab paper. Handsewn binding. Laid in a two-piece cloth-covered box with ribbon book lift and title on cover.

Emily Artinian: Hold On is a book that grew out of a larger installation for the 2009 Venice Biennale [Dead Dad (Do the right thing) / Emily Next Time]….In 2008 Emily Artinian became executor for her deceased father's estate, consisting of commercial property and a real estate company. In her compound role as artist, estate representative, and property owner, Emily considers the complexities of inheritance, investigating her uneasy relationship to land ownership, and exploring her father's drive for it, something she often questioned him about in his lifetime. One strong sense - speculative, but insistent - is that this pursuit was in some ways connected to his own parents' loss of home and homeland, when they were displaced to the United States as refugees. Hold On centers on a prose poem by the artist based conversations she and her father shared before he died, and her meditations on the intricate legacy of inheritance and the complex emotions and responsibilities embedded in ancestral history."

Justin Ions, a review in the Estonian journal SIRP: "Emily Artinian's work Dead Dad (Do the right thing) relates her inheritance of a tract of land in rural Pennsylvania from her Armenian father, who died recently. Eight aerial photographs surveying the land are juxtaposed with conversations that she has recollected in a slim volume of lyrical prose, and tell of her father's hopes for the land and of the small community that live there - of the inheritance, of a fading identity and of familial obligation. Artinian, a book-artist, has produced a subtle piece of work, a private dialogue with public interest made especially interesting in the context of the recent economic chaos and subsequent collapse of real-estate values. "
$200

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From Ararat to Angeltown
By Violet Grigorian; Marine Petrossian; Vahan Ishkhanyan; Gohar Nikoghosyan; Vahram Martirosyan; Karen Karslyan
London: 2005. Edition of 250.

7.25 x 24.25"; 28 pages. Typeface: Nour Patria. Laid in black cloth portfolio.

Emily Artinian: “This bilingual English/Armenian book contains newly translated works by six contemporary Armenian authors, all members of the avant garde literary group Bnagir, based in Yerevan, Armenia.

“Also included, as a parallel text, are excerpts from transcripts of [my] discussions with the group during [my] 2004 artist’s residency in Armenia. This text highlights the difficulties of publication facing progressive writers in this ex-Soviet republic, difficulties that are a result of limited cultural acceptance at home, limited economic resources, and also a lack of connections to publication and distribution organizations in the west.

“The book is large format (A1 when open), and photographs of the writers are printed close to life size, bringing the reader into an almost palpable contact with the authors. This is a structural metaphor for the book's power to bridge physical, linguistic and cultural divides.”

The contributors and texts included are:

Love by Violet Grigorian
Yerevan is a Big City by Mariné Petrossian
Brotherhood by Vahan Ishkhanyan
Of Cats and Dogs by Gohar Nikoghosyan
Landslide by Vahram Martirosyan (the first two chapters of the novel)
Love at Every Sight by Karen Karslyan

Translations from the Armenian are by Margarit Tadevosyan-Ordukhanyan.
$200 in black cloth letterfold case


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The High Window
By Emily Artinian
London: 2005. Edition of 100.

5 x 5.5" pamphlet size. Digital video (15 minutes) on DVD and 26 pamphlets, boxed together. Housed in 6 x 5.25 x 2.25" white box with fold held with black elastic wrap.

Emily Artinian: "For 'The High Window' [I] filmed a New York street scene and wrote a short fictional vignette based on the footage. Twenty-five readers were given the text and asked to describe their imaginative constructions of the scene without viewing the film

"The film component of 'The High Window' presents the original footage, and, in a transparent layer superimposed on this, a selection of the readers' comments. The accompanying collection of pamphlets presents full text transcripts of the interviews.

"Together the book object and film explore correspondences and discontinuities amongst diverse readings of the same fictional text and the ways readers fill in information and create meaning in the gap between themselves and an author.

"The pamphlets and film reference each other through a running film timecode that is noted in the texts to indicate points at which each particular reader appears onscreen, emphasizing the interplay of different media: where the film presents selected segments of interviews in a sensual richness, the pamphlets present them at full length, but through the abstraction of printed text."
$100


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real fiction(1) (2) :
documents of a journey
(3) to (4) the imagined world of José Saramago(5)

By Emily Artinian
London: 2004. Edition of 100.

6.25 x 8.75"; 20 pages. Tri-fold structure. In cream paper wraps. Offset lithography. Digital printing. Housed in cloth covered flat tray box.

Emily Artinian: "Based on the stories of Portuguese writer José Saramago, real fiction is a record of the artist's search for traces of the 'real' in the author's fictional universe.

"The images are of places and people in Lisbon, taken over a three day period, that Emily believes Saramago may have been fictionalizing, or at least had in mind whilst writing.

"The notes in the back section of the book describe the process of the search and make up a document of one reader's 'real' travels into a 'fictional' space.

"The book makes frequent use of the mechanism of the footnote, linking the images in section 1 with the notes in section 2, thus highlighting the contingent nature of both 'factual' and 'fictional' knowledge.

"Finally, the book is an exploration of the reception of Saramago in translation in the English-speaking world, querying the accuracy of the reality we construct as foreign readers of a narrative."
$200


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Darkroom
By Emily Artinian
London: 2000. Open Edition.

11 x 6cm. Transparencies bound with brushed nickel posts.

Flipbook animating a dilating pupil.

Emily Artinian: "The idea for a gradual (and manipulatable) transition developed in response to Plato's allegory of the cave, with its emphasis on two discrete states of sight/knowledge."
$100


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Occupy your Wallet series  
   
NOTICE
art is everywhere, and free

By Emily Artinian
Wilmington, Delaware: Emily Artinian, 2012. Open Edition.

3.75 x 2.5 x 1.125"; 36 plastic coated cards. Images from original photographs by Emily Artinian. Housed in lidded brown commercial craft box with title on lid.

This is part two of three in the series occupy your wallet.

Emily Artinian: "NOTICE Art Everywhere follows on from Artinian's Occupy your Wallet series of 2011-12, drawing on egalitarian leanings of the Occupy movement and considering them in terms of art's relationship to its audience, and also in terms of the act of conferring the designation of 'art' upon something.

"Printed credit cards (free for taking, as with Occupy) present photographs of noticed 'art instances.' These are everyday moments that may be slightly out of kilter, or appear arranged – either by accident or by a person's hand/actions. NOTICE asks us to remember to stop, and to see, the art in an old chair set out for trash collection, in a rose growing through a chain link fence. The cards are meant to be kept both as art objects in themselves, and as a kind of talismanic reminder, to look and to notice.

"Thus far, these moments have been recorded mainly in the streets of New York and Artinian's home cities of Wilmington, Delaware, and Chicago, but the project is ongoing and takes in other places as well as photographs by others."

$165

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Occupy your wallet
By Emily Artinian
Wilmington, Delaware: Emily Artinian, 2011.

3.375 x 2.125"; 21 plastic coated cards. Images from original photographs by Emily Artinian. Housed in clear plastic with zip lock closure.

Photographs of individuals participating in the Occupy Wall Street protest. The photographs were taken at Zucotti Park in New York City during the months of October and November in 2011.

Each image is designed to look like a credit card - image on one side, magnetic stripe with info on the reverse. The individual cards are given away. They have no cash value attached to them.

Artinian plans to continue with the project as the OWS movement continues (January 5, 2012).
$100

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Emily Artinian Out of Print title:
• Taman: A Translation
 
   

Page last updat: 05.07.14

   
  
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