Tshirt, edition of 30
Crystal Palmer & Isaac Pool for "Good Piece of Food" at Greylight Projects, Brussels.
Images online at isaacpool.com
BOOM! Soft Poster
24 x 19 inches, digital print on cotton, hand finished.
Edition of 25, numbered.
Diary of Steit
11 x 8.5 inches, 20 pages, full color archival digital print on coverstock, side stitched.
Includes a download link for music by Veit Laurent Kurz & Stefan Tcherepnin.
Edition of 15, signed.
Isaac Pool's work with images, objects and text engage with a perverse sense of realism, straddling fictional narrative and material investment. Light Stain is a selection of recent poems and three decades of snapshots, including images captured by the artist's mother, Deb Pool.
Light Stain is Pool's first book in print. Alien She, an ebook dedicated to Mark Aguhar and featuring David Geer and Colin Self, was released by Klaus eBooks in 2013. Brian Droitcour, the book's editor, noted Pool's writing for its "uneven syntax, with figures and events pivoting mid-line and slipping out of definition. Subjects don't stay still; "it" becomes "she" and vice versa as the uncertainty and instability of a body's presence in space acquires a bodily presence of its own."
Light Stain is limited to 150 numbered copies and is the first in What Pipeline's Detroit Artist Book series, funded in part by The Knight Foundation
Praise for Light Stain:
Isaac Pool is an imagist poet of gross Americana - mall textures, bad food, landfill things, website text. I think Light Stain is about being poor, being gay, and noticing things. And it's full of one of my favorite phenomena: the surprising tenderness of the totally alienated.
- Johanna Fateman
In Isaac Pool's sculptural works, one encounters a series of quasi-figures that are abject but also extremely funny. Such works (for lack of a better term) conjure awkward forms of presence, subtly echoing a landscape and idiom of post-disaster capitalism Detroit where he is from, but also of a queer habitus after the Internet. The poems in this book provide an integral context for Pool's aesthetic practices. Navigating familiar institutional and social spaces, they tell a story of the promethean courage by which one transcends their class origins while remaining faithful to their cultural background. Forms of life are mediated by objects (the photographs collected in the book show us this). There is a numinousness about objects and of private spaces that seem as disposable as they do otherworldly (light stains?).
- Thom Donovan
Mary Ann Aitken Black Abstract 1983-2011 was an exhibition in two parts, presenting distinct chapters in the career of artist Mary Ann Aitken (b. Detroit, 1960 - d. New York, 2012). Running from June 7 - July 13, 2013, What Pipeline primarily exhibited early works, while the exhibition at Trinosophes focused on Aitken's late work.
For more than three decades, Aitken was a voracious artist whose output of painting, works on paper, and mixed media collage was matched by a sense of intention that cut across her varied subjects. Though Aitken studied and worked among the recognized artists of the Cass Corridor, her own art has yet to be celebrated.
Aitken's touch was not light. In the 1980s, she was a mark-maker who depicted her environment with a heavy palette. Thick layers of paint consumed whatever disposable material she could get her hands on, including linoleum tile, newsprint, cardboard, and used paper. Her rough, unmediated impressions of unconsidered objects and mundane street scenes reaffirm their existence.
In 1989, Aitken relocated to Brooklyn where she worked as an art therapist. Her work from 2006-2011, the late period of her life, represents a shift toward impenetrable abstraction. Rocks, twine, tar, soot, shells, and other debris are buried deep in ragged canvas; the treasures she found were hardened into dark, ossified form. This exhibition also features multiples of her photographic documentation of sublime gardens and beach scenes from the family cottage in Amertsburg, Canada.
Mary Ann Aitken Black Abstract is a 96-page catalog documenting Aitken's work spanning 1983-2011 and these exhibitions of her work. Designed and published by What Pipeline in cooperation with Ed Fraga, artist and Aitken's life-long friend. Featuring an essay by Rebecca Mazzei, director of Trinosophes.