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Now in its third year, the San Francisco Art Book Fair (SFABF) cultivates a diverse and inclusive roster showcasing talent from the Bay Area art publishing community and beyond, exhibiting hand-stapled zines alongside limited edition clothbound tomes.
Launched in 2016 by Colpa Press, Minnesota Street Project, and Park Life, SFABF spotlights an eclectic selection of artists’ books, catalogues, monographs, periodicals, zines, ephemera, and multiples. These items are presented by over 100 publishers, antiquarian dealers, artists, and galleries. Unlike traditional book fairs, SFABF integrates book-themed exhibitions from adjacent galleries into a concerted celebration of ink on paper.
Since its founding, the fair has grown exponentially, welcoming 10,000 visitors in 2017. This year marks not only an increase in the number of exhibitors, but also the highest international turnout, including representatives from Iran, United Arab Emirates, Japan, and France.
The weekend is complemented by fair-specific programming, including talks, launches, special projects, and signings. This year’s lineup features a Ruth Asawa book launch from David Zwirner Books; a lecture by performance artist Andrea Fraser; a Museum of Capitalism book launch from Inventory Press; and the panel Corita Kent, Activism & Art in the 60s, honoring the artist’s centennial and publication of International Signal Code Alphabet from Atelier Éditions. SFABF also welcomes Canyon Cinema and SF Cinematheque, who will curate a selection of experimental films in MSP’s Media Room.
July 20–22. Minnesota Street Project (MSP), 1275 Minnesota St, SF 94107. Free admission.
An SFMOMA exhibition raises questions about what it means when museum board members have ties to politicians who support border wall policies.
The exhibition at the Jewish Museum delves into “degenerate” art and art made under duress as part of a thought-provoking yet diffuse exhibition.
In Philadelphia, a series of solo shows delves into the interdisciplinary practices of graduates whose work explores identity, familial bonds, political constructs, and nature’s fragility.
Despite his work’s apparent abstraction, Sheroanawe Hakihiiwe insists that “I don’t invent anything, everything I do is my jungle and what is there.”
David Uzochukwu, Kennedi Carter, and Kiki Xue are among the 35 artists whose work will be displayed online and at the festival in Milan, Italy.
On November 14, join Columbia University School of the Arts for virtual information sessions with the program chair, faculty, and staff.
No Vacancy, curated by Jody Graf, will be on view from October 26 through November 8 at the school’s Kellen Gallery in New York City.
To do so before they have returned the Maqdala treasures and the Benin Bronzes and the Easter Island statues and the Maori heads, before a coherent set of precepts for decolonization has been articulated, would affirm the wrong principle.
“Everybody in Mesopotamia, as far as I understand it, believed in ghosts,” said Irving Finkel, a curator of the British Museum’s Middle Eastern department.