Rakish Light

Project 2:
Real Print
January 19, 2017

Contributions by:

Kristin Beinner James, Pall Björnsson,Todd Bourret, Kate Brown,
Lola Bunting, Amina Cain, Tuni Chatterji, Mario Correa, Barb Choit,
Matt Connolly, Dana DeGiulio, Kate Dollenmayer, Chris Fallon,
Luke Fischbeck, Corey Fogel, Victoria Fu, Paul Gellman, Jeff Gibson,
Liz Glynn, Jason Gouliard, Michelle Grabner, Katie Grinnan,
Melissa Guerro, Margaret Honda, Violet Hopkins, Claire Iltis,
Christopher James, Shaun Johnson, David Karwan, Chris Kasper,
Olga Koumoundouros, Zachary Leener, Haven Lin-Kirk, Jen Liu,
Caitlin Lonegan, Elizabeth Lopez, Thea Lorentzen, Suzanne McClelland,
Susan Morris, Ragen Moss, Laurie Nye, Brian O’Connell, Deirdre O’Dwyer,
Philip Ording, Matt Rich, Heather Parlato, Amara Ravva, Kay Rosen,
Jenny Salomon, Aram Saroyan, Jonathan Silberman, Vivian Sming,
Cal Tabuene-Frolli,
Dan Torop, J. Parker Valentine, and Mark Verabioff.

We, Rakish Light, are a small press started in a garage in LA in Spring 2016; or rather, we, Rakish Light, spent much of 2016 in our garage resuscitating an offset lithographic printing press, trying to control a (near-obsolete) means of production. In the early days of 2017, as the presidential election’s surprise results were about to be realized, we knew a lot of people felt the need to do something. And we could, at 6,000 sheets per hour—nothing compared to the rapidity of internet clicks, but something “real.” This was Real Print, a postulation that by organizing artists to make prints for material distribution… well, this could be meaningful for artists and their communities as we faced the “change” signified by the recent US presidential election.

We contacted artist friends on January 4 by email: “As many of you know, last March we bought an old offset press that we’ve been restoring and learning to use under the name Rakish Light. In the same time period, the world went wrong. Early on, we joked that our reinvented, almost obsolete form of analog reproduction might be a necessary tool in dark times. Now we’re cringing at those jokes, but glad to have the press. We have a high-capacity means of production, and we would like to ask you to participate in a last-minute collaborative project to express the combination of urgency, anxiety, and ultimately hope for renewed commitment born of the present moment.