The Shandaken Project commissions exclusive limited editions by contemporary artists on a seasonal basis: one for spring and one for fall, each year. The editions are for sale individually and are given as gifts to members to acknowledge their contribution. Before considering our limited editions, please aquaint yourself with our thinking pertaing to resale rights.







Jibade-Khalil Huffman
Untitled (Dream Sequence Animation Cel), 2017
Inkjet on transparency and paper, 8.25 x 5.5 inches
Edition of 60 + 5 APs


Jibade-Khalil Huffman's photo works are experimentations relating archives and collage to nostalgia and memory. They are made by layering scanned fragments of found magazines, encyclopedias, and instruction manuals which are then cut away, layer by layer, section by section, to produce a new composition. While indebted to painting, drawing and collage, their output as photographs is key, as the scanning process allows for a parsing of the material of paper in its various stages of aging as opposed to a representation of this.

Untitled (Dream Sequence Animation Cel) arrives as an inkjet transparency and a seperate inkjet print on paper, but is intended to be framed together, as shown above.

Jibade-Khalil Huffman (b. 1981, Detroit) lives and works in New York and Los Angeles. Huffman received his MFA from the Roski School of Fine Art at USC in 2013, as well as an MFA in Literary Arts from Brown University in 2005. He has authored three books of poems, including, most recently, Sleeper Hold (Fence, 2015). Huffman was an artist-in-residence at The Studio Museum in Harlem in 2015-16 and was included in the 2014 Made in L.A. Biennial at the Hammer Museum. He has presented work internationally at institutions including MoMA/PS1, New York; MOCA, Los Angeles; Swiss Institute, New York and the Portland Institute for Contemporary Art, Portland. Huffman has exhibited work in solo and group shows at galleries including Anat Ebgi, Los Angeles; Blum & Poe, Los Angeles; LACE, Los Angeles; LAXART, Los Angeles; Marianne Boesky East, New York; China Art Objects, Los Angeles and Night Gallery, Los Angeles.


Become a member for $348 and receive this limited edition






Stephen Shore, Granger Bay, Cape Town, South Africa, June 2014, 2016
48-page, four-color, hardcover book, 7 x 7 inches
Signed and numbered
Edition of 60 + 5 APs


This signed, numberd book produced by the artist and available exclusively to members of Shandaken, continues Shore's enduring interest in new technologies of reproduction, beginning with color photography in the seventies, as well as vernacular formats such as short-run books and, now, Instagram. This collection of more than 20 images made in Cape Town in June 2014 has never before been seen in print.

Stephen Shore's work has been widely published and exhibited for the past forty years. He was the first living photographer to have a one-person show at the Metropolitan Museum of Art in New York since Alfred Stieglitz, forty years earlier. He has also had one-person shows at the Museum of Modern Art, New York; George Eastman House, Rochester; Kunsthalle, Dusseldorf; Hammer Museum, Los Angeles; Jeu de Paume, Paris; and Art Institute of Chicago and has received fellowships from the Guggenheim Foundation and the National Endowment for the Arts. His series of exhibitions at Light Gallery in New York in the early 1970s sparked new interest in color photography and in the use of the view camera for documentary work.

Books of his photographs include Uncommon Places: The Complete Works; American Surfaces; A Road Trip Journal; Survey; From Galilee to the Negev and Survivors in Ukraine. Shore also wrote The Nature of Photographs, published by Phaidon Press, which addresses how a photograph functions visually. His work is represented by 303 Gallery, New York; and Sprüth Magers, London and Berlin. Since 1982 he has been the director of the Photography Program at Bard College, Annandale-on-Hudson, NY, where he is the Susan Weber Professor in the Arts.

Become a member for $348 and receive this limited edition book






Math Bass, Diver
Hand-pulled letterpress, 18 x 23.5 inches
Signed and numbered on verso
Edition of 70 + 10 APs


Math Bass' oversized letterpress edition Diver continues her interest in figuring the human body, broadly construed. Known for her sculpture and performance in addition to 2-dimensional work, Bass often employs the reduced palette and intentionally-ambiguous graphical systems seen in Diver to conjure her lyrical, Futurist-inflected worlds. This print is offered exclusively as a thank you gift accompanying membership to the Shandaken Project until our forthcoming spring 2015 edition is released. Please familiarize yourself with our thinking pertaining to resale rights limitations before joining up.

Math Bass (b. 1981) lives and works in Los Angeles. She received her MFA from UCLA. Recent solo exhibitions have been presented at PS1 Contemporary Art Center, New York, NY (2015); and Overduin & Co., Los Angeles (2014). Exhibitions of Bass's work have been presented by Cooper Union, New York, NY (2015); Tanya Leighton, Berlin, Germany (2015); The Hammer Museum, Los Angeles, CA (2014); White Flag Projects, Saint Louis, MO (2014); Andrew Kreps Gallery, New York, NY (2014); Galerie Nordenhake, Stockholm, Sweden (2014); and Silberkuppe, Berlin, Germany (2014).

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JPW3, PIM (POPPY ICE MAIZE)
Three-color risograph, 10.75 x 16 inches, 2015
Signed and numbered
Edition of 75 + 10 APs, $200 or as a gift with membership


Time lapse and slow-motion film and video documentation were created to capture movement either too fast or too slow for the human eye. The illusion controlling time and speed continues to be a human obsession. As the popcorn kernel pops, the iceburg falls into the sea; later or at the same time, a poppy blooms.

JPW3 engages with a variety of materials—relating found, fabricated, and raw elements to create lushly textured surfaces in both painting and sculpture. Layering images and densely applied wax and returning frequently to materials such as popcorn or automotive parts, the artist distorts both the smooth surface of his supports as well as recognizable visual motifs. Please see this page before purchasing.

[NOTE: This edition was printed with two dinstinct paper stocks, with edition numbers randomly assigned between them. Each edition is a single print, either grey or yellow per the above.]








CAROL BOVE, UNTITLED
Five-color, hand-pulled silkscreen, 24 x 24 inches, 2014
Signed and numbered
Edition of 60 + 9 APs


Carol Bove is known for her simple yet intricate assemblages of found and made objects. Carefully arranged on pedestals, elevated platforms, or directly against walls and ceilings, these yield unexpected, poetic, and multilayered meanings, which seem to derive from the composition of the objects rather than the inherent substance of the individual components. Using a wide range of materials, including books, driftwood, peacock feathers, metal, concrete, foam, and loans from other artists, Bove’s works are subtle assemblages resisting categorization despite their determined relationships with modernist display methods. Please see this page before purchasing.

Text courtesy David Zwirner, New York/London



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EDIE FAKE, SRO
Silkscreen, 13.75 x 10.75 inches, 2014
Signed and numbered
Edition of 60 + 5 APS, $175


Edie Fake’s work envisions ecstatic architectures that channel the intentions and complexities of bodies and communities. His drawings use a vocabulary of ornamentation to embody the intricacy and unconventionality of queer life and history. The edition SRO is a three-layer silkscreen print that riffs on "single room occupancy" housing. SRO remodels the constraints of a room/self into a boundless structure, mirroring the potential of trans* identities to make gender a limitless site of residence.








RYAN JAMES MACFARLAND, BENT PINE
Unique Fujifilm Instant Print, 3.375 x 4.25 inches, 2013
With signed and numbered certificate
Edition of 60 + 5 APs, $200


Ryan James MacFarland was a resident at the Shandaken Project in summer 2012. While there, he worked in the studio familiarly known as "Bent Pine," so named for the unusual tree growing beside it. The bizarre distortions produced by the studios' PVC windows remained with MacFarland in the months after his residency. The next year, he proposed to make Bent Pine—a series of unique photographs documenting the tree, shot from within the studio.

The photographs defy catagorization: they are unique prints from an analog process that appear digitally manipulated and mechanically reproduced. Bent Pine continues MacFarland's longstanding interest in imaging and abstracting the natural world.








DENISE KUPFERSCHMIDT, DOUBLE DANCER
Silkscreen, 10 x 13 inches, 2013
Signed and numbered
Edition of 99, $200


Denise Kupferschmidt's limited edition for the Shandaken Project shows a mirrored set of her signature figures. These genderless, dancerly forms echo the "primitive" referents of high Modernism, for instance paleolithic venuses or West African masks. Kupferschmidt is interested in the medatitive and reductive aspects of classic caligraphy, and applies those philosophies to her figures. Trained as a printmaker, this is her first silkscreen edition. Similar figures were used in her 2012 mural for BAM.

From 2008 to 2010, Kupferschmidt and fellow artist Joshua Smith organized a series of rigorus but de-professionalized, communitarian group shows in (mostly) residential spaces. The project, called Apartment Show, collapsed the borders between commercially successful artists and those new to the market, and destabilized expectations for art-viewing by placing work in diverse spaces: from individuals' homes to well known galleries. Many past Aparment Show participants are now members, residents, and friends of the Shandaken Project.









MARGARET LEE, KATAHDIN
Hand-painted plaster, dimensions variable, 2012
With signed and numbered certificate
Edition of 90 + 15 APs, $500


Margaret Lee's Katahdin is a cast and hand-painted replica of a Katahdin potato grown by Shandaken Project director Nicholas West. She is interested in the potato as a classless object: a banal, staple foodstuff that ignores social barriers. The new potatoes exist somewhere between an edition, a readymade, and a unique artwork: each is hand painted, however they are all cast from the same mold. Each comes with a signed and numbered certificate from the artist.

Lee's potato sculptures became well known in 2010, when she individually cast Idaho potatoes that were repurposed as raw material for other artists, namely Michele Abeles and Darren Bader, in a show for White Columns. Lee collaborates with both on a regular basis, and also shows Abeles' work in the commercial gallery she runs, called 47 Canal. This flattening of roles and commitment to ongoing partnership is tantamount in Lee's practice: community and collaboration are vital elements of her artwork and her program as a dealer.










SCOTT HUG, MY LOVE
Poster, 34.5 x 26.5 inches, 2008
Signed and numbered
Edition of 250, $50


Scott Hug's My Love was originally commissioned for the group show If I told you you were beautiful, would you date me on the regular?, curated by Shandaken Project director Nicholas Weist. Artists responded to the eponymous lyric from Justin Timberlake's song My Love (which asked how little the star could offer in return for fans' devotion) by salvaging peices of hegemonic culture and modifying them so they could never re-enter the mainstream. Hug pastiched an early photograph of Timberlake from the 'N Sync days with the entertainer's name and signature to create this "fan poster." Best hung unframed, with pushpins.