⚧ feminist artists books & publications

The New Woman’s Survival Catalog, 1973.

Article as part of the ongoing Speaking Volumes research

refers to ∿∿∿ the Whole Earth Catalog, 1968-1972/1998

which codes are inspired by ∿∿∿ mail-order catalogs like the Sears Roebuck catalog, c. 1900

Sears Roebuck catalog, 1962-63

The “women magazine” format as a camouflage — Le Petit Livre Rouge des Femmes, 1972

cataloguing ∿∿∿ librarianship

Beatrice Warde (30s) ( article Crystal Clear)

The Library Was, OOMK, Marta Terry González (50s)

Celeste West (70-80s)

catalog (arts) ≈ legitimation tool

↬ see also Speaking Volumes

Using Zotero as a CMS :)


Cyberfeminism Index, Mindy Seu, 2020

⚧ compiling, building networks of solidarity

imagi-nation nwar – genealogies of the black radical imagination in the francophone world, The Chimurenga Chronic, Chimurenga, Mars 2021

de-composed, an-arranged and re-produced by Chimurenga

The Chimurenga Chronic, 2018

To be continued …

On catalogs…

Maryse Condé, «Moi, Tituba sorcière» — perspective intersectionnelle aux procès des sorcières de Salem de 1692 × esclavage × racisme × histoire du livre…

p. 79 :

The New England Primer, Benjamin Harris, 1690 (publié par Benjamin Franklin)

Isabelle Sorrente, «Le complexe de la sorcière» :

(Contribution d’Oriane Molinie)

Mona Chollet, «Sorcières, la puissance invaincue des femmes» :

Sorcières & imprimerie

Alpha’s Bet Is Not Over Yet!

Steffani Jemison and Jamal Cyrus

“Alpha’s Bet Is Not Over Yet” is an exhibition, reading room, and discussion space inspired by the energy and politics of radical, independent Black periodicals published during the first half of the twentieth century. Born out of “Book Club” (2010), a think tank and reading group organized by artists Steffani Jemison and Jamal Cyrus for Project Row Houses, Houston, “Alpha’s Bet” investigates approaches to language, the written word, self-education, and democratic distributions of knowledge. The project draws upon two hundred years of dialogues that span the spiritual, pedagogic, visionary, and populist. These perspectives are reflected in the exhibition’s title that paraphrases theorist and artist Rammellzee (1960-2010), who argued that language as a social agreement is not a passive vessel or known quantity but rather possesses the potential to reimagine structures of power.

The centerpiece of the project is an interactive newsstand display featuring complete reproductions of more than 500 issues of Black periodicals published between 1902 and 1940, including The Crisis: A Record of the Darker Races; The Messenger: World’s Greatest Negro Monthly; Opportunity: A Journal of Negro Life; and The Crusader. The installation is designed to encourage browsing of the materials and provides space for both concentrated reading and conversation.


Bidoun Library

Founded in 2009, the Bidoun Library is a presentation of printed matter, carefully selected with zero regard for taste or excellence, that documents the innumerable ways that people have depicted and defined — that is, slandered, celebrated, obfuscated, hyperbolized, ventriloquized, photographed, surveyed, and/or exhumed — the vast, vexed, nefarious construct known as “the Middle East.”


Bidoun, Issue 22 — Library

“This issue presents a specific iteration of the Bidoun Library (…): a presentation of printed matter, carefully selected with no regard for taste or quality, in an attempt to document every possible way that people have depicted and defined — slandered, celebrated, obfuscated, hyperbolized, ventriloquized, photographed, surveyed, and/or exhumed — that vast, vexed, nefarious construct known as “the Middle East.” The result is banal and offensive, a parade of stereotypes, caricatures, and misunderstandings of a sort that rarely makes it into the magazine, all the trappings of the Middle East as fetish: veils, oil, fashion victims; sexy sheikhs, sex with sheikhs, Sufis, stonings; calligraphy, the caliphate, terrorism; Palestinians.”

It Was a Publisher’s Idea, Bidoun


Bidoun, Issue 15 — Pulp

“Lies, crimes, and stereotypes…pulp is the kingdom of the obvious and exaggerated, the sensational and the predictable, peopled by detectives, werewolves, and robot girls. In pulp loves comes in two flavors; saccharine sweet and raunchy porn. Pulp is worth exactly the paper it’s printed on—the cheapest paper in the world.

Pulp means paper; or rather, the mulch from which paper is made. And it is this relationship to the physical that is the key to pulp, as genre and as critique. Pulp can be a painting, but not art. A book, but not literature. A movie…but not cinema.”

Letter From The Editor, Lisa Farjam


Bicoli collective

Bicoli collective à Forest (Bxl)

Clara Pacotte — Bibli de zouz



& la bibliothèque EAAPES:

Elsa Abderhamani

Bibliothèque d'Elsa Abderhamani (juillet 2021 →) et aussi ici (octobre 2020 - mai 2021):

Revolted Librarians

The Type Rubber, Life in New York, William Burns, 1851 & Le Temps, Paris, 1961.

La typote et le calicot, La Musette, mars 1885.

Bebelle la typote, La Lanterne, 15 juillet 1902, p.3-4.

Les Femmes Typographes, Journal guide des Jeunes Gens et des Jeunes Filles pour le choix d’une carrière, juin 1904, p.261-262.

Le syndicalisme et les femmes (affaire Couriau), Paris Midi, août 1913, p.2.

L’affaire Couriau, L’Action féministe, janvier 1914.

Pétition des typographes pour interdire aux femmes de travailler dans les imprimeries, dans Histoire de la femme au foyer (2/5), RTS, 15:44



« Il faut parler » Jean Bofane

« Ce livre me manquait » Léonora Miano


« Ce qui m'intéressait c'est tout ce qui n'est pas dans les livres d'historiens, parce qu'ils n'ont pas de trace, parce qu'ils n'ont pas de témoignages… c'est la vie des gens… la perte et l'arrachement… parce qu'ils avaient des familles, mais qu'on ne le dit jamais… C'est un peu court comme histoire, et ça ne me satisfaisait pas. Toni Morrison a dit un jour que si un livre nous manquait il fallait l'écrire. Ce livre me manquait beaucoup. »

Léonora Miano et Jean Bofane ( Millepages/Librest)


Pourquoi faire des livres?

Kayfa ta

Kayfa ta is a non-profit Arabic publishing initiative that uses the popular format of how-to manuals (kayfa=how, ta=to) to respond to some of today’s pertinent needs; be they skills, thoughts, sensibilities, emotions, tools or other. These books situate themselves in the space between the technical and the reflective, the everyday and the speculative, the instructional and the intuitive, the factual and the fictional. Kayfa ta was founded in 2012 by Maha Maamoun and Ala Younis.

Kayfa ta was founded in 2012 by Maha Maamoun and Ala Younis, artists and curators from Egypt and Jordan. As artists and cultural producers, they believe in the relevance and need for the perspectives and languages offered by artists, and that these languages are not, or need not be, as exclusive or isolated as they often are. One of the impetuses for this project is to attempt a collapsing of some of the distance between art and non-art, and their respective producers and receivers. They would like to bring together, within one book series, the voices and perspectives of a range of producers (from art, literary and other circles), in an accessible form, to a shared platform and a wider mixed audience.

Everyday they express a need to think differently about the tools that we have, the bodies that we inhabit, the houses, communities, economies, geographies and histories that shape and are shaped by us. While how-tos are most commonly used as a strict transmitter of technical and practical knowledge, they aim to commission and publish manuals that attempt to open up a space for a different kind of reading and readership within this mostly technical and didactic genre. Kayfa ta wishes to periodically approach practitioners (artists, theorists, inventors, urbanists, builders, farmers, researchers, filmmakers, writers…) and discuss with them the urgency of the moment and the issues and situations that would benefit from a specific “manual”.



Kayfa ta
The Black Experience in Graphic Design

Petit Manuel de graphisme, Pyramid, 2014 ⬏


Épreuve et catalogue des caractères de l’imprimerie de la Veuve Æ.-C. Stryckwant, à Bruxelles, 1803 ⬎


Dames des Typos de France, La Sorte, Organe Typographique, n.5, février 1985, p.7.

Veuves & orphelines

Guerrilla Girls, card
My Calling Card, Adrian Piper
Specimen — genre & …

Speaking Volumes was an artists’ books exhibition at the A.I.R. Gallery in New York in 1980.

Speaking Volumes, 1980

A Short Story, II

Linda Nishio

Print Type Inc

El Segundo, CA





Comment: a hilarious commentary on male/female relationship with definitions of the terms

Linda Nishio