PARROT 6 Viva Miscegenation by Brian Kim Stefans




PARROT 6 Viva Miscegenation
by Brian Kim Stefans
Now Out from Insert Press!

Buy Now!

The PARROT series was originally issued by Blanc Press (Los Angeles) from 2005-2010. Insert Press is reissuing facsimile editions of each title from the PARROT series and releasing a Limited Edition hand-bound set of the collection at the end of the run.

PARROT will print the work of Harold Abramowitz's A House on a Hill (A House on a Hill, Part One), Amanda Ackerman's I Fell in Love with a Monster Truck, Will Alexander's On the Substance of Disorder, Stan Apps' Politicized Pretty Picture, Amina Cain's Tramps Everywhere, Teresa Carmody's I Can Feel, Allison Carter's All Bodies Are The Same and They Have The Same Reactions, Michelle Detorie's Fur Birds, Kate Durbin's Kept Women, K. Lorraine Graham's My Little Neoliberal Pony, Jen Hofer's The Missing Link, Maximus Kim's Break Bloom Burn, Janice Lee's Fried Chicken Dinner, Bruna Mori and George Porcari's May I take Your Order?, Joseph Mosconi's But On Geometric, Vanessa Place's Forcible Oral Copulation, Amarnath Ravva's Airline Music, Stephanie Rioux's My Beautiful Beds, Ara Shirinyan's Erotic in Czech Republic, Michael Smoler's Pieces of Water, Brian Kim Stefans' Viva Miscegenation, Mathew Timmons' Complex Textual Legitimacy Proclamation, and Allyssa Wolf's Loquela.

Covers of Parrot are handprinted by the amazing printmaker, Maggie White. You can find out more about her work here: http://maggiewhiteprintmaking.blogspot.com/ methinks you'll like what you see.

Read some recent press on the PARROT series, including a review of PARROT 1 and an interview with editor Mathew Timmons. And Coming Soon! The Archanoids, an album of solo and collaborative sound poetries from Pleonasm Music. A telephone gallery show at (323) Projects of solo, collaborative and interactive sound poetries from September 6-October 11, 2010. And Statement of Facts by Vanessa Place is available through Blanc Press.

There are only a couple PARROT subscriptions still available, so get yours now!

Sign up for the Insert Press & Blanc Press mailing list here!

Insert Press offers a few different ways to become a subscribing member and to support the press.

The Insert Press Full Subscription includes everything produced by Insert Press for $133.00. You may subscribe to Insert Press separate from the PARROT series for $50.00. You may subscribe to the PARROT series only for $81.00. You may order the Limited Edition hand-bound set of the PARROT collection, signed and numbered 1-50 for $100.00. You may also Donate to Insert Press and if you include your address, we’ll send you something very exciting, just because you’re so nice!

See details below:

Subscribe to Insert Press now for $133.00 and receive everything Insert Press has published to date including Three Column Table by Harold Abramowitz (only a few copies left available only to subscribers!), Absurd Good News by Julien Poirier, Handsome Fish Offices by Ara Shirinyan plus a year's worth of new titles including Bruna Mori's forthcoming Poetry for Corporations, the Ups & Downs anthology (a collection of writings and imagery from the installation series, The Ups & Downs), all 23 of the individual titles in the PARROT series, and anything else we publish this year.

Subscribe to Insert Press! and the PARROT series! for $133.00

Or subscribe to Insert Press! separate from the PARROT series for only $50.00

Or subscribe to PARROT for $81.00 and receive individual titles from the PARROT series as they are released.

Or Pre-Order the Limited Edition hand-bound set of the PARROT collection, signed and numbered 1-50 for $100.00.

You can also Donate to Insert Press and if you include your address, we'll send you something very exciting, just because you're so nice!

$$$ Cotton Candy and $$$ The Color of Money



$$$ Cotton Candy - a limited edition of 20 two-color prints available online and at the CREDIT: Installation at Los Angeles Contemporary Exhibitions (LACE) from August 5-26 (15" x 22" stratford grey rag paper). Quite literally all the Dollars and Cents from the book CREDIT. Purchase a copy of this print now - $75.




$$$ The Color of Money - a limited edition of 20 two-color prints available online and at the CREDIT: Installation at Los Angeles Contemporary Exhibitions (LACE) from August 5-26 (15" x 22" stratford grey rag paper). Quite literally all the Dollars and Cents from the book CREDIT. Purchase a copy of this print now - $75.

CREDIT: Installation at LACE

photos of the artist talk and performance by Harold Abramowitz

CREDIT: Installation at Los Angeles Contemporary Exhibitions LACE, August 5-26, 2010.

Les Figues Press presents Mathew Timmons CREDIT: Installation as part of Not Content, a series of text projects that investigate the ways in which language functions within public and private spheres and within the tenuous and transitory space between these real and imagined realms. Not Content will take place as a series of writers-in-residence. Most residencies will last for three weeks, during which time the writer will engage in a project that considers the physical and temporal space of the gallery/residency. Presenting Writers: Vanessa Place, Divya Victor, Douglas Kearney, Maxi Kim, Gaby Torres and Jenny Donovan, Amina Cain and Jennifer Karmin, Mathew Timmons, Yedda Morrison, Johanna Drucker, Marco Huerta, Sawako Nakayasu, and Christine Wertheim.

In late spring 2007 as an irrational exuberance and promise of financial fortune hung in the air, mailboxes were filled with generous and gracefully worded offers of credit. Just over two years later, in midsummer 2009, the shape of the financial environment changed radically and mailboxes still filled up with statements of credit. Something had to change, offer turned to obligation.

Mathew Timmons installation at LACE, CREDIT, is based on his book of the same name. Published by Blanc Press in Los Angeles, CREDIT is an 800 page, large format, full color, hardbound book—the longest, most expensive book publishable through the online service lulu.com. Divided into two sections, Part A: Credit–26 parts (a-z) and Part 2: Debit–10 parts (1-10), CREDIT is a highly revealing and emotional work chronicling a personal tale of credit.

Mathew Timmons’ CREDIT has been roundly endorsed by a number of artists, writers, editors and critics. Holly Myers has said, "Rarely has the mind-numbing banality of consumer capitalism’s fine-print underbelly been employed to such elegant effect. Mathew Timmons’ CREDIT is a timely epic in this crumbling age of debt." Willam Moor has said, "This book is a must have, along the lines of the Arcades Project, the OED, any crossword puzzle in the U.S. between 1982 and 1995, finished or not, the Bible, and of course the definitive attempt at something without reason, Marienbad." Robert Summers has said, "Timmons enacts a redistribution of the sensible that disrupts the common of the community: he shows what has been present but in a way that highlights the twisted irony of it all." And Dan Richert has said, "CREDIT's operation is ravenously lossy, feeding on filtering byproducts and mistranslation; emphasis on information loss/breakage makes the text self-genotoxic and it sprouts mutant poetry from attractive shapes and corners. The text can be rotated. CREDIT is unreadable and CREDIT is a vibrant autobiography and CREDIT is a rainbow dream."

Timmons' CREDIT: Installation at LACE will engage with excess through the layering of elements from the book. Beginning with the recreation of a few iconic images from the book at the scale of 1 inch = 1 foot (achieved with the help of scenic designer Sarah Krainin), the installation will develop as Timmons attempts to read aloud the entirety of the book CREDIT and record an audio version of the complete text. A software program will be used to turn the sound recordings into a new text, which will be released at the end of the residency as the paperback edition of CREDIT.


View a short movie of the CREDIT: Installation in process...

video