Paperback magazine

OK please dont think im blowing my trumpet with this post, so please bear with me... Being an artist is a great great thing, but unlike popular opinion, if your just starting out, its not all glamorous sell out private views everynight of the week,globetrotting, sell out limited edition japanese toys and bank balances like Banksys...in fact its hard hard work and sometimes demoralising, with the only reward being the golden glow of creating something your really proud of...this is until (if your lucky) heads start to turn in your direction...now on the other side of the art coin, promoting new talent and great art isnt all the big 40% easy money people think it is. Sure if your banksys manager, or you run a boring print company , gallery or whatever, it might be that easy money but for most part it is again hard hard work for often no profit but worthwhile just for the satisfaction of putting something good out there..so whenever someone or somepeople GENUINLY decide to help champion creativity through zine prints, sites, magazines or galleries, it should be welcomed and applauded, because trust me, its a lot of hard work for one of the best causes.
The reason for this post is a fantastic new London based Art magazine that is lookin' very good....the magazine in question is paperback magazine.
My mate Polis Kris says that at the moment advanced copies are available from Artwords Bookshop (Rivington St, London), Koenig Books (Charing Cross Rd and SerpentineGallery) and Family (Los Angeles) but there's more stockists to be
announced very soon..
The official blurb is as follows, but if you want the Dilly brief summary - a great new magazine championing great art and feturing EYE (Boredoms) Ben Sansbury (Ex- Silas) and Brendon Fowler to name a few awesome attratctions...here the press run down

"Paperback is comparable to the 'Art' section in a used bookstore; a place where artists of disparate disciplines, movements, geographies, and time-periods share common ground. In such a place where diversity is in the extreme, a basic commonality emerges - human creativity.

Paperback takes this approach with the aim to produce as vibrant an art publication as possible, to encourage open-mindedness, and broaden the horizons of its readers.
With slight of hand, Paperback makes connections between contemporary artists and artists in the near and distant past. Emergent artists and recent events are placed into a larger context than is found in other art magazines. Particular attention is paid to small vibrations in art that might be missed by the radar of art history, with the aim of preserving and promoting works and events that carry unique qualities and that should be archived.
Rather than merely reporting on a subject, Paperback responds to subject matter creatively, by producing new material. Examples in Issue 1 include a graphic interpretation of the famous wooden toys produced by Swiss manufacturer NAEF, a photo essay documenting the installation of Robert Rauschenberg's recent retrospective at the Pompidou Centre in
Paris.
Unique in its format, Paperback is to be enjoyed as much for its physicality as for its content"