He founded his research-based graphic design and publishing studio Counterpractice in 2014. Previously, he ran Soulellis Studio for 12 years, producing award-winning work for clients like Cornell University, TED, Waterworks, Esri, The Rockefeller Foundation and The Municipal Art Society of New York.
Paul is the founder of Library of the Printed Web, a physical archive devoted to web-to-print artists’ books, zines and other printout matter. The on-going project has gathered international attention, was featured twice in the New Yorker, and was shown at The Book Affair at the opening of the 55th Venice Biennale.
In 2014, Paul began publishing Printed Web, a semi-annual “exhibition in print” devoted entirely to web-to-print art and discourse. Printed Web #3 will launch at Offprint London at the Tate Modern in May 2015.
Printed Web 3 is currently featured on the front page of Rhizome.org as a browsable Apache directory.
Earlier this year, I announced an open call for the third issue of Printed Web, a semi-annual publication dedicated to web-to-print discourse. I received a stunning array of files from recognized artists like Olia Lialina, Kim Asendorf, and Clement Valla, but the real beauty of the open call was connecting with a new group of people working with material found or created on the web —147 contributors in all. A particularly diverse view of networked culture formed on my desktop through an accumulation of notes, attachments, tweets, and downloads. Gathering this community around Printed Web was immensely satisfying for me, and I wanted to include every submission in the issue — but having received hundreds of PDFs, JPGs, PNGs, and GIFs, the logistical challenges to this have been considerable.
My intention had always been to publish all of the files received in a single print edition, but as submissions poured in, I decided that “scattering” the material across different networked versions would allow the project to occupy multiple apositions in a way that suited its multiplicitous content.
Kristen Gallagher's latest work has been published as a ZIP file.
This shouldn't surprise anyone familiar with GaussPDF, the publisher who hosts her Dossier on the Site of a Shooting (GPDF154). The PDF in GaussPDF actually stands for Probability Distribution Function ("masquerading as its Adobe-laced counterpart"), and aside from the expected PDF "books" of experimental writing and poetry, the full catalog contains MP3s, Word docs, MOV files, ZIPs, and links to print-on-demand versions. All of the digital files are dispersed freely.
Still, in the context of artists publishing screen-based works, Gallagher's format seems radical. The title offers a clue of what's to come: a dossier is "a collection of papers or other sources, containing detailed information about a particular person or subject." In this case, Gallagher's subject is the site of the murder of Trayvon Martin in Central Florida and the trial of George Zimmerman, his killer, that followed. Gallagher visited the area on multiple occasions, wandering, encountering, engaging, collecting. She investigated the event through the place, gathering ephemera and stories along the way.