{"title":"Protest and Activism","description":"","products":[{"product_id":"copy-of-johanna-drucker-diagrammatic-writing","title":"Bureau d'Etudes, Atlas of Agendas: Mapping the Power, Mapping the Commons","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem\u003eThe Atlas of Agendas\u003c\/em\u003e is a political, social and economic atlas: informing the public about socio-political power structures and activating opportunities for the self and the commons.\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cdiv id=\"comp-lbuwu0ut\" class=\"comp-lbuwu0ut MazNVa rYiAuL\"\u003e\n\u003cdiv class=\"j7pOnl\" data-testid=\"linkElement\"\u003e\n\u003cp class=\"font_8\"\u003eThe French research and design group\u003cspan\u003e \u003c\/span\u003eBureau d´Études\u003cspan\u003e \u003c\/span\u003ehas been producing maps of contemporary political, social and economic systems that allow people to inform, reposition and empower themselves. Revealing what normally remains invisible, often in the shape of large-sized banners, and contextualising apparently separate elements within new frameworks, these visualisations of interests and relations re-articulate the dominant symbolic order and actualise existing structures that otherwise remain concealed and unknown.\u003c\/p\u003e\n\u003cp\u003eThis large-size hardcover book, panoramic in scope and theoretically both profound and accessible, is the atlas for an emancipatory new citizenship that utilises the opportunities of info-graphics from the local to the global and back again.\u003c\/p\u003e\n\u003cp\u003eThe Paris-based artists Léonore Bonaccini and Xavier Fourt form the artist-duo Bureau d’études. For the last several years, the French Group has been producing cartographies of contemporary political, social and economic systems.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e","brand":"Set Margins'","offers":[{"title":"Default Title","offer_id":47422885560655,"sku":"PK0088","price":30.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/PK0088_Atlas_of_agendas.jpg?v=1695912968"},{"product_id":"daniel-tucker-we-are-all-now-drawing-on-strategic-universalism","title":"Daniel Tucker, We Are All ….. Now Drawing on Strategic Universalism","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem\u003e‘We Are All ….. Now’\u003c\/em\u003e is inspired by a rhetorical phenomenon disseminated in the media with the intention of implicating people with an agenda. Sourced and quoted from the \u003cem\u003e‘We Are All socialists Now’\u003c\/em\u003e dating back to 1887 up to \u003cem\u003e‘We Are All Ukrainians Now’\u003c\/em\u003e dated 2022, this project presents a non-exhaustive list and illustrated artist visualizations of this rhetorical device named strategic universalism by artist \/ activist \/ researcher Daniel Tucker, presented here along with a new dialogue with the artist Dan S. Wang.\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cdiv id=\"comp-lbuwu0ut\" class=\"comp-lbuwu0ut MazNVa rYiAuL\"\u003e\n\u003cdiv class=\"j7pOnl\" data-testid=\"linkElement\"\u003e\n\u003cdiv id=\"comp-lbexl3js\" class=\"comp-lbexl3js MazNVa rYiAuL\"\u003e\n\u003cdiv class=\"j7pOnl\" data-testid=\"linkElement\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv id=\"comp-l8wx3prl\" class=\"KcpHeO tz5f0K comp-l8wx3prl wixui-text\" data-testid=\"richTextElement\"\u003e\n\u003cp class=\"font_8\"\u003eBecause the original quotations are at times conflicting, this series of hand-drawn responses to each strategically universalist implication draws out a wide range of idiosyncratic symbolic approaches to interpretation – laying bare the struggle of different identities involved in the commitment to stand together.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e","brand":"Set Margins'","offers":[{"title":"Default Title","offer_id":47422921474383,"sku":"PK0089","price":18.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_20230737.jpg?v=1695902204"},{"product_id":"copy-of-isola-press-further-adventures-in-rough-stuff","title":"Isola Press, The Rio Tape\/Slide Archive","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem\u003eThe Rio Tape\/Slide Newsgroup\u003c\/em\u003e was a community project in the 1980s that met in the basement of the Rio Cinema in Dalston, east London. It taught unemployed local young people photography and sound-recording skills and then sent them out to report on Hackney life. The resulting ‘newsreels’ were then shown on screen at the Rio before the main feature.\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cp class=\"\"\u003eThe slides were rediscovered in a battered filing cabinet in the Rio basement during renovation work in 2016. They are a treasure trove of radical community photography depicting protests and activism, street scenes, work, play and 80s Dalston style.\u003c\/p\u003e\n\u003cp class=\"\"\u003eIn addition to the slides, the book features oral histories from more than 25 people connected with the RTSNG, the Rio, or who appear in the photos. 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With her prankish sense of humour and conceptual dedication to experimental engineering, she has altered materials of mass production—from Fordism through the pharmacopornographic era—subverting commercial binaries to reveal the transitory nature of material life and her own transpersonal identity.\u003c\/p\u003e\n\u003cp\u003eACT LIKE YOU KNOW ME is the first critical survey of Pippa Garner’s radical practice, supplementing exclusive visuals and texts by Garner with archival press materials on the artist from such notable figures as Glenn O’Brien, Ralph Rugoff, and Hayden Dunham, in addition to three new original commissions from contemporary, award-winning authors Shola von Reinhold, Dodie Bellamy, and Fiona Alison Duncan.\u003c\/p\u003e\n\u003cp\u003eACT LIKE YOU KNOW ME builds upon a touring exhibition of the same name—the first solo exhibition of Pippa Garner in Europe—launched at the Kunstverein Munich in the fall of 2022 with subsequent stops at the Kunsthalle Zürich (Zurich, Switzerland, 2023), FRAC Lorraine (Metz, France, 2023) and White Columns (New York, NY, 2023). Co-curated by Maurin Dietrich and Fiona Alison Duncan in collaboration with Daniel Baumann (Kunsthalle Zürich), Fanny Gonella (FRAC Lorraine), and Matthew Higgs (White Columns), this exhibition has garnered coverage in Vogue, Artforum, Texte zur Kunst, Elle, Mousse, Autre, Artnet, the New York Times, and Novembre, among other publications. \u003c\/p\u003e","brand":"Bierke","offers":[{"title":"Default Title","offer_id":47548922167631,"sku":"PK0362","price":37.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_202301161.jpg?v=1700648641"},{"product_id":"joe-shaw-mark-graham-eds-towards-a-fairer-gig-economy","title":"Joe Shaw, Mark Graham, (Eds.), Towards a Fairer Gig Economy","description":"\u003cp\u003e\u003cem\u003e‘Towards a Fairer Gig Economy’\u003c\/em\u003e is a small collection of articles examining the social and economic problems associated with the ‘gig economy’. The gig economy includes a wide range of labour carried out by workers providing services as couriers, taxi drivers, online freelancers and more. Issues examined include an over-supply of labour, falling wages, long hours and poor working conditions. Each article makes suggestions for how these problems can be addressed and how a fairer gig economy can be built: including through regulation, collective bargaining and wider policy recommendations. The collection’s contributors include cycle couriers, union organisers, academics and researchers.\u003c\/p\u003e","brand":"Meatspace Press","offers":[{"title":"Default Title","offer_id":47999813157199,"sku":"PK0563","price":6.5,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/towardsafairer.jpg?v=1702291924"},{"product_id":"skin-deep-issue-10-play","title":"Skin Deep, Issue 10: Play","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp dir=\"auto\" data-mce-fragment=\"1\"\u003e\u003cstrong\u003eUK\/EUROPE\/USA\/ASIA\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\" data-mce-fragment=\"1\"\u003eSkin Deep makes space for Black creatives and creatives of colour to work towards justice.\u003c\/p\u003e\n\u003cp dir=\"auto\" data-mce-fragment=\"1\"\u003eIn this landmark 10th issue, PLAY explores the revolutionary potential of play as a tool for reimagining, a tactic for resisting, and a necessary release that enables us to keep up the relentless work of building new worlds.\u003c\/p\u003e\n\u003cp dir=\"auto\" data-mce-fragment=\"1\"\u003eEdited by Charlie Brinkhurst-Cuff and June Bellebono alongside the Skin Deep team, PLAY features contributions from: Otamere Guobadia, Lakeisha Goedluck, Ciaran Thapar, Risa Puno, Dominic Cadogan, Amuna Wagner, Amy Li Baksh, Simran Uppal, Kieran Yates, Zena Agha, Sonji Shah, Amahra Spence, Nkenna A Ibeakanma, Ruchira Sharma, Maysa P, Hadiru Mahdi, Jonas Fine Tan, Malaika Francique, Harshad Marathe, Wendy Wong, Julie Lai, Hwa Young Jung, Shweta Sharma, Sasha Kelley and Elliott Jerome Brown Jr.\u003c\/p\u003e","brand":"Skin Deep","offers":[{"title":"Default Title","offer_id":48000448627023,"sku":"PK0498","price":10.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_20230344.jpg?v=1702639092"},{"product_id":"pippa-garner-better-living-catalog","title":"Pippa Garner, Better Living Catalog","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003ePippa Garner’s\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eBetter Living Catalog\u003c\/em\u003e, originally published in 1982, takes the form of a mail order catalog featuring clever and whimsical inventions that parody consumer goods while simultaneously critiquing America’s obsession with ingenuity, efficiency, leisure, and comfort. These works, which were made as prototypes and photographed for the publication, take the form of improbable accessories, clothing, footwear, home appliances, and office gadgets.\u003c\/p\u003e\n\u003cp\u003eFor example, the “Reactiononometer,” a portable wristband, instantly measures social success, while the “Digital Diet Loafers” display the wearer’s weight with every step. If the “Munch-o-Matic” reduces deskwork interruptions by flinging a snack right into the user’s mouth, other items promise financial solvency (the controlled cash flow “Autowallet”), sustainable waste management, or mess-free companionship (the “Pet-a-Vision” TV console). The artist asserts that all of the products in the book are “absolute necessities for contemporary survival.”\u003c\/p\u003e\n\u003cp\u003eThe\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eBetter Living Catalog\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003ewas a pop hit when it was published, earning Garner spots on nighttime TV talk shows and attention from magazines like\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eVogue\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eand\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eRolling Stone\u003c\/em\u003e. In a meme-filled culture, the works still resonate today, finding their analog in widely-circulating consumer products, and—in the case of the “High Heel Skates”—even appearing unattributed in the runway collection of a major luxury fashion brand.\u003c\/p\u003e\n\u003cp\u003eA few years after the\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eBetter Living Catalog\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003ewas published, Garner began her gender transition, which she has characterized as an artistic project that draws conceptual parallels to the altered consumer goods she has continued to create since the 1970s. The artist’s practice has always been about hacking—gender hacking, she stated, was “an excellent premise for maverick conceptual art and diametrically opposed to anything I’d ever done.”\u003c\/p\u003e\n\u003cp\u003eMany of the prototypes Garner created for the publication were repurposed or recycled, making this previously rare gem of an artist book one of the artist’s few works to now be widely available.\u003c\/p\u003e\n\u003cp\u003eBorn in 1942 in Evanston, Illinois, Pippa Garner (formerly known as Philip Garner) began her practice in the late sixties as a member of the highly regarded Transportation Design department at ArtCenter, California, with plans to become a car stylist, and was drafted to Vietnam to serve as a combat illustrator. In the mid-80s, Garner began her gender transition, which she considers a conceptual artwork, marking an extension of her practice from twenty years of altering cars, garments, and consumer products to using her own body as raw material. Garner appeared on the Tonight Show Starring Johnny Carson and other talk shows, showcasing her satirical consumer product inventions, and her artwork has been featured in\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eCar \u0026amp; Driver\u003c\/em\u003e,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eRolling Stone\u003c\/em\u003e,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eArts \u0026amp; Architecture\u003c\/em\u003e, and\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eVogue\u003c\/em\u003e, among other publications. In the 1980s, her performance, design, and video work was exhibited in institutions including the Los Angeles Institute of Contemporary Art; Whitney Museum of American Art; and Museum of Contemporary Art, Los Angeles; since 2015, she has had exhibitions at STARS, O-Town House, Redling Fine Art, and Parker gallery in Los Angeles; Jeffrey Stark in New York; JOAN, Los Angeles; Kunstverein München; 49 Nord 6 Est – Frac Lorraine, Metz; Kunsthalle Zurich; and Art Omi, Ghent, New York. She is the author of three other books:\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eUtopia… or Bust! Products for the Perfect World\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e(1984),\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eGarner’s Gizmos \u0026amp; Gadgets\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003e(1987), and the zine\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eBeauty 2000\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003e(1992\/2021).\u003c\/p\u003e","brand":"Primary Information","offers":[{"title":"Default Title","offer_id":48072604287311,"sku":"PK0148","price":16.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_20230086_392f76c1-de6d-4286-933e-f20b0ce8fea7.jpg?v=1702906536"},{"product_id":"copy-of-various-a-documentary-herstory-of-women-artists-in-revolution","title":"Various, A Documentary HerStory of Women Artists in Revolution","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003eFirst published in 1971, \u003cem\u003eA Documentary HerStory of Women Artists in Revolution\u003c\/em\u003e documents the efforts of a group of women artists, filmmakers, writers, critics, and cultural workers organized around advancing women in the art world.\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cp\u003eWomen Artists in Revolution (W.A.R.) was founded as the women’s caucus of the Art Workers’ Coalition and was active from 1969 to 1971. This publication gathers manifestos, statements, and declarations by W.A.R. members; articles and reports about gendered and racialized discrimination in the arts; pro-abortion fliers and protest ephemera; and grant applications and reports detailing the founding of the Women’s Interart Center in spring 1970. Also included are documentation of key actions, including the 1970 Artists’ Strike against Racism, Sexism, Repression, and War; and correspondence with officials at the Whitney Museum of American Art, the Guggenheim Foundation, and the Museum of Modern Art calling for 50 percent gender equity in exhibition programming, increased grant and fellowship support for women, and structural representation at the management and curatorial level, among other demands.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eA Documentary HerStory of Women Artists in Revolution\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003ewas originally printed at the Women’s Media Center in 1971 by Women Artists in Revolution. A second edition, published in 1973 by Women’s Interart Center,  features a preface and addendum with retrospective reflections on the history and activities of W.A.R. and the publication itself, two years after the group’s dissolution. It is this second edition that is reproduced here in facsimile form.\u003c\/p\u003e\n\u003cp\u003eMembers of W.A.R. included Juliette Gordon, Sara Saporta, Therese Schwartz, Muriel Castanis, Cindy Nemser, Dolores Holmes, Betsy Jones, Silvia Goldsmith, Jan McDevitt, Lucy Lippard, Grace Glueck, Poppy Johnson, Brenda Miller, Faith Ringgold, Emily Genauer, Agnes C. Denes, Doloris O’Kane, and Jacqueline Skiles.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Primary Information","offers":[{"title":"Default Title","offer_id":48072607695183,"sku":"PK0169","price":15.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_20230148_f44656af-715f-4572-87d1-fdbe00ed4992.jpg?v=1702906591"},{"product_id":"kirsten-grimstad-and-susan-rennie-the-new-woman-s-survival-catalog","title":"Kirsten Grimstad and Susan Rennie, The New Woman’s Survival Catalog","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cp\u003ePublished in 1973,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eThe New Woman’s Survival Catalog\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eis a seminal survey of Second Wave feminist efforts, which, as the editors noted in their introduction, represented an “active attempt to reshape culture through changing values and consciousness.”\u003c\/p\u003e\n\u003cp\u003eAssembled by Kirsten Grimstad and Susan Rennie in only five months,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eThe New Woman’s Survival Catalog\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003emakes a nod to Stewart Brand’s influential\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eWhole Earth Catalog\u003c\/em\u003e to map a vast network of feminist alternative cultural activity in the 1970s. Grimstad and Rennie set out on a two month road trip in the summer of 1973, meeting and interviewing all the featured organizations and individuals, and gathering information and further references along the way to complete the publication.\u003c\/p\u003e\n\u003cp\u003eFrom arts organizations to bookstores and independent presses, health, parenting, and rape crisis centers, and educational, legal and financial resources, this book provides crucial insight into feminist initiatives and activism nationwide during the Women’s Movement. Styled as a sales catalog,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eThe New Woman’s Survival Catalog\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003ecomprises listings and organizational descriptions, articles, and extensive illustrations, as well as a “Making the Book” section, detailing the publication’s production.\u003c\/p\u003e\n\u003cp\u003eKirsten Grimstad and Susan Rennie are the co-editors of\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eThe New Woman’s Survival Catalog\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e(Berkeley Publishing Company, 1973) and\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eThe New Woman’s Survival Sourcebook\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e(Knopf, 1975). They went on to co-found\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eChrysalis: A Magazine of Women’s Culture\u003c\/em\u003e, published out of the Woman’s Building in downtown Los Angeles from 1977-1981.\u003c\/p\u003e\n\u003cp\u003eKirsten Grimstad was born in Wauwatosa, Wisconsin, and earned a Ph.D. in Comparative Literature from the Union Institute \u0026amp; University (Cincinnati) after receiving a BA at Barnard College and an MA at Columbia University. She is currently Co-Chair of Undergraduate Studies at Antioch University, Los Angeles, and past Chair of the Getty Villa Council. Her research centers on German literature and public memory about the Holocaust, and she is the author of\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eThe Modern Revival of Gnosticism and Thomas Mann’s Doktor Faustus\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003e(Camden House, 2002).\u003c\/p\u003e\n\u003cp\u003eSusan Rennie earned a BA from Barnard College and received a Ph.D. in Political Philosophy from Columbia University. She taught Social Sciences at Union Institute \u0026amp; University, worked as a women’s health activist, and lives in Venice, California. \u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Primary Information","offers":[{"title":"Default Title","offer_id":48072612086095,"sku":"PK0174","price":24.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_20230314_c4169c46-708e-4415-b3dd-b3c0b7354f52.jpg?v=1702906675"},{"product_id":"marion-von-osten-in-the-making-in-the-desert-of-modernity-colonial-planning-and-after","title":"Marion von Osten, In the Making In the Desert of Modernity: Colonial Planning and After","description":"\u003cp\u003e\u003cem\u003eIn the Making: In the Desert of Modernity: Colonial Planning and After. A Research-Based Practice\u003c\/em\u003e is about the working method of the artist and exhibition maker Marion von Osten (1963-2020).\u003c\/p\u003e\n\u003cp\u003eThrough the genesis of one of her major exhibitions, \u003cem\u003eIn the Desert of Modernity: Colonial Planning and After,\u003c\/em\u003e and other related exhibitions, Marion von Osten recounts modes of research, forms of collaboration, research trips, and encounters. Was the book \u003cem\u003eColonialModern. Aesthetics of the Past, Rebellions for the Future\u003c\/em\u003e (ed. by Tom Avermaete, Serhat Karakayali, Marion von Osten) dedicated to the exhibition itself, which deals with the connection between architecture, urban planning, and colonialism, Marion von Osten's In the Making traces the conceptual and design settings of exhibition making and reveals connections in order to reconnect them where necessary.\u003c\/p\u003e\n\u003cp\u003eAlmost as if incidentally and yet quite centrally, In the Making establishes walking, talking, listening, meeting, relating as essential components of inquiry-not only in a postcolonial context, but especially there. Addressing spatial politics, power relations, and social struggles at the time of colonialism, liberation struggles, and decolonization in North Africa, In the Making welcomes unexpected encounters and opens pathways to parainstitutional and feminist exhibition making.\u003c\/p\u003e","brand":"b_books","offers":[{"title":"Default Title","offer_id":48156481585487,"sku":"PK0519","price":20.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_202310731.jpg?v=1708079219"},{"product_id":"ana-vujanovic-und-livia-andrea-piazza-hg-a-live-gathering-performance-and-politics-in-contemporary-europe","title":"Ana Vujanović and Livia Andrea Piazza (Eds.), A live gathering: Performance and Politics in Contemporary Europe","description":"\u003cp\u003eThe main question we raise with this book is how performance can be political in present day European representative democracy, a system which no longer draws on the live gathering of people. Several leading European (mostly female) thinkers analyse artistic practices that have emerged alongside new social movements – such as Solidarity in Greece or Municipalism in Spain – investigating how theatre, dance and performance respond to the new political insights and experiments. It is a context wherein the previously well-known tactics and tools, such as participation, identity politics or spontaneous usage of public space don’t suffice. Thus we must build and learn a new vocabulary of politicality of performance that includes opaque words such as ‘innervation’, ‘preenactment’, ‘prefiguration’ or ‘recreation’.\u003c\/p\u003e","brand":"b_books","offers":[{"title":"Default Title","offer_id":48156488958287,"sku":"PK0520","price":18.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_202310841.jpg?v=1708081374"},{"product_id":"bojana-cvejic-ana-vujanovic-ed-by-tkh-public-sphere-by-performance","title":"Bojana Cvejic \u0026 Ana Vujanovic (ed. by TkH), Public Sphere by Performance","description":"\u003cp\u003eThe book Public Sphere by Performance results from a two-year research project Performance and the Public that Ana Vujanović, Bojana Cvejić and Marta Popivoda carried out in 2011 and 2012, during the residency of TkH (Walking Theory) platform (Belgrade) at Les Laboratoires d’Aubervillier. The part of the research of Marta Popivoda gave rise to the documentary film Yugoslavia: How Ideology Moved Our Collective Body.\u003c\/p\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003eb_books (in cooperation with co-publisher: Les Laboratoires d'Aubervilliers)\u003c\/p\u003e\n\u003cp\u003eThe point of departure for this research is the recurrent problem of the public: the eclipse of the public sphere throughout the twentieth century as a marker of the crisis of representative democracy. The theoretical and political perspectives of this transdisciplinary research stem from the discontinuous experiences  of participation in the public sphere in former socialist Yugoslavia and contemporary Western neoliberalism.The authors propose an analysis of and discussion about the public - and its discontents - through several models of mass, collective, and self-performances, such as social drama and social choreography. In numerous collaborations with artists, theoreticians, and activists in 2011, they have closely observed transversal social,  artistic, and cultural artifacts and  practices: movements, images,laws, habits, and discourses.\u003c\/p\u003e\n\u003cp\u003e\"There are few questions as politically pressing as that of  the public - who it is, what it desires, and perhaps more crucially, who wants to destroy it in the name of neoliberal privatisation and the “order”  imposed by the state’s own image of a ‘public’ mobilised against its own people. By addressing the question of the public through the prism of performance, Bojana Cvejić and Ana Vujanović acutely outline the past, present and future of the ‘public’ in an era when all of  its supports—the welfare state, a strong image of democracy, collective movements—have been marginalised or destroyed.\" Nina Power, senior  lecturer in philosophy at Roehampton University, London.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"b_books","offers":[{"title":"Default Title","offer_id":48156795633999,"sku":"PK0521","price":14.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_20231540.jpg?v=1708689955"},{"product_id":"tim-stuttgen-in-a-qu-a-re-time-and-place-post-slavery-temporalities-blaxploitation-and-sun-ra-s-afrofuturism-between-intersectionality-and-heterogeneity","title":"Tim Stüttgen, IN A QU*A*RE TIME AND PLACE: Post-Slavery Temporalities, Blaxploitation, and Sun Ra’s Afrofuturism between Intersectionality and Heterogeneity","description":"\u003cp\u003eIn this book Tim Stüttgen considers the paradigm of (post-)slavery as an important epistemological break within predominantely white Gender and Queer Studies, as well as within critical Film and Cultural Studies. Departing from what E. Patrick Johnson has proposed as a specifically intersectional »quAre«, instead of an »unmarked white queer perspective«, this book contrasts Deleuze’s cinema theory with Frantz Fanon, queer theories of color, the history of the African diaspora and utopian quAre futurisms to establish notions of a black locality, mobility and temporality in what Stüttgen calls the first emancipatory black cinema: Blaxploitation. Digging deeper in the imagery and temporalities of Blaxploitation film, his analysis deals with the sexualization of racism and mass media imagery of armed black liberation struggles, and shows the development of more and more complex spaces, main characters and representational constellations, including black revolutionary women (with guns) and also queer subtexts.\u003c\/p\u003e\n\u003cdiv data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/div\u003e\n\u003cdiv data-mce-fragment=\"1\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003eSpecial issue of SUM magazine, in accordance with the publishing house of The Royal Danish Academy of Fine Arts, Schools of Visual Art, Copenhagen \u003cbr data-mce-fragment=\"1\"\u003epublished by b_books, berlin and autonomedia, New York  .\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eFollowing the analysis of a specifically black movement-image, the book engages in a comprehensive intersectional reading of John Coney’s legendary 1974 Sun Ra film Space is the Place, crystallizing the concept of a »black time-image« that interconnects formal aesthetic concepts to afro-futurist queer utopias. By producing these sorts of »quAre assemblages« Stüttgen ultimately aims at an epistemological renewal of the dominant discourses on race, class and gender, that helps to at least temporarily suspend reifying identity patterns at stake, and rethink them critically based on the  principles of intersectionality and heterogeneity.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"b_books","offers":[{"title":"Default Title","offer_id":48156949938511,"sku":"PK0527","price":16.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_202310901.jpg?v=1708082294"},{"product_id":"anselm-franke-und-kerstin-stakemeier-eds-illiberal-arts","title":"Anselm Franke, Kerstin Stakemeier (Eds.), Illiberal arts","description":"\u003cp\u003eThe liberal capitalist world order that prevailed after 1989 is today in a stage of advanced disintegration. The collapse of this order exposes the illiberal core of its freedoms and forms of ownership shaped by the market: the violent unfreedoms of the dispossessed as well as the willingness of the propertied to use violence. Art, too, reveals itself as the venue of these forces and their exclusions: Through the downfall of liberality, the modern institution of “veranstaltlichte Kunst” (“institutionalized art”, Arnold Hauser) and its social legitimacy are also increasingly called into question.\u003c\/p\u003e\n\u003cdiv data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/div\u003e\n\u003cdiv data-mce-fragment=\"1\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe liberal capitalist world order that prevailed after 1989 is today in a stage of advanced disintegration. The collapse of this order exposes the illiberal core of its freedoms and forms of ownership shaped by the market: the violent unfreedoms of the dispossessed as well as the willingness of the propertied to use violence. Art, too, reveals itself as the venue of these forces and their exclusions: Through the downfall of liberality, the modern institution of “veranstaltlichte Kunst” (“institutionalized art”, Arnold Hauser) and its social legitimacy are also increasingly called into question.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eIlliberal Arts is a search for forms concerning an artistic “Lebensarbeit” (“life’s work”, Lu Märten, publicist and art critic, 1879–1970) initiated with international artists, poets and authors. In the cracks of the decaying forms of market accumulation, anti-identitarian, communal horizons burst open, as do collective forms of perception and political spontaneities. The project subjects these to a practical test. For Lu Märten, “a person’s whole life’s work” was considered artistic; what was artistic didn’t always have to become art. Perhaps what became art doesn’t necessarily have to remain art either.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eWith contributions by Juliana Spahr; Rosalind C. Morris; Aristilde Paz Justine Kirby;Övül Ö. 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With hair, earrings, scrunchies, wall plugs and gallery walls, the series talks about the feminine as a commercially constructed value, as well as the normative female body and its role in (art) history.\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cdiv class=\"comp-lbuwu0ut MazNVa rYiAuL\" id=\"comp-lbuwu0ut\"\u003e\n\u003cdiv data-testid=\"linkElement\" class=\"j7pOnl\"\u003e\n\u003cdiv class=\"comp-lbexl3js MazNVa rYiAuL\" id=\"comp-lbexl3js\"\u003e\n\u003cdiv class=\"\"\u003e\n\u003cdiv class=\"\"\u003e\n\u003cdiv class=\"\"\u003eAlongside the series of sculptures Doris Boerman presents three accompanying texts especially written for this publication: Fashion researcher Femke de Vries wrote an essay about self-design as a mass cultural practice, celebrities as designed surfaces and strategies of disclosure to restore trust in this ‘unreal’ system. The poem by lesbian artist, LGBTQIA+ activist and poet Joëlle Sambi compares the black woman’s skull to a battlefield on which normative and repressive standards are a constant battle to fight against whilst remaining proud and strong. Finally, the essay by visual artist and writer Timmy van Zoelen stages a dance around Doris’ sculptures by way of the curvature of her spinal column; taking the backbone for a spin in a series of playful references. 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It was developed as part of Jessalyn Aaland's 2018-2019 fellowship at Yerba Buena Center for the Arts. Workers have used this booklet to unionize art museums and nonprofits across the country, including the Philadelphia Museum of Art and the Wexner Center for the Arts in Columbus, Ohio!\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eText adapted from online resources with additional writing by the authors. 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Hot on the heels of his books The Impossibility of Silence: Writing for Designers, Artists \u0026amp; Photographers and The Failed Painter (or Unchained by Material Anxiety), designer, writer and teacher Ian Lynam’s latest body of work is an urgent and impassioned examination of the contemporary condition.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cspan\u003e“Joyfully and skillfully straddling the line between creator and critic, theorist and practitioner, formalist and rebel, American and expatriate, serious analyst and humorous deconstructor, Ian Lynam always brings a wholly original perspective to his writing on design. The insights are always fresh, and the stakes \u003c\/span\u003e\u003cspan\u003eare always extremely high.”\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e– W. David Marx, author of \u003c\/span\u003e\u003ci\u003e\u003cspan\u003eStatus and Culture: How Our Desire for Social Rank Creates Taste, Identity, Art, Fashion, and Constant Change\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cspan\u003e“Lynam adeptly juggles platters of diverse knowledge that include history, theory, philosophy, humanities, and the gamut of pop culture.”\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e– Louise Sandhaus, author of \u003c\/span\u003e\u003ci\u003e\u003cspan\u003eEarthquakes Mudslides Fires \u0026amp; Riots: California \u0026amp; Graphic Design, 1936-1986\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cspan\u003e“Ian Lynam is the Hunter S. Thompson of design writing.”\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e– Sereina Rothenberger, Jan Van Eyck Academie\/Vermont College of Fine Arts\u003c\/span\u003e\u003c\/p\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e","brand":"Set Margins'","offers":[{"title":"Default Title","offer_id":48475388674383,"sku":"PK0706","price":20.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_20231892.jpg?v=1710521532"},{"product_id":"morgane-billuart-cycles-the-sacred-and-the-doomed-inquiries-in-female-health-technologies","title":"Morgane Billuart, Cycles, the Sacred and the Doomed: Inquiries in Female Health Technologies","description":"\u003cp\u003eIn Cycles, the Sacred and the Doomed, artist and author Morgane Billuart gives voice to the complexities of female health, particularly through the lens of premenstrual dysphoric disorder (PMDD). Highlighting the gaps in traditional support systems and health care, the writer embarks on a personal and collective quest, turning to online communities, ancient wisdom, and modern science to reimagine what holistic care can mean.\u003c\/p\u003e\n\u003cp\u003eThis book of auto-theory weaves together the articulation of unmet needs, an assembly of multidisciplinary information, personal narratives, and critical analysis of female health technologies. In a world propelled by rapid technological progress and a culture of disposability, Cycles, the Sacred and the Doomed reveals a space where science, holistic methods, intimate souvenirs, and mythology converge.\u003c\/p\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e","brand":"Set Margins'","offers":[{"title":"Default Title","offer_id":48475426324815,"sku":"PK0636","price":20.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_20231898.jpg?v=1710522059"},{"product_id":"copy-of-kevin-lo-design-against-design-cause-and-consequence-of-a-dissident-graphic-practice","title":"Kevin Yuen Kit Lo, Design Against Design - Cause and consequence of a dissident graphic practice","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem\u003eDesign Against Design\u003c\/em\u003e argues for the urgent necessity of critical engagement and political resistance through graphic practice. It draws on insights from the practice of LOKI, a small graphic design studio committed to working with social movements towards radical political change. With con­versational interviews, personal and critical essays, and a wide-ranging selection of graphic works, this book unravels the real-world relationships, motivations and contradictions involved in a socially engaged design practice.\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cdiv class=\"comp-lbuwu0ut MazNVa rYiAuL\" id=\"comp-lbuwu0ut\"\u003e\n\u003cdiv data-testid=\"linkElement\" class=\"j7pOnl\"\u003e\n\u003cdiv class=\"comp-lbexl3js MazNVa rYiAuL\" id=\"comp-lbexl3js\"\u003e\n\u003cdiv data-testid=\"linkElement\" class=\"j7pOnl\"\u003e\n\u003cdiv class=\"\"\u003e\n\u003cdiv class=\"\"\u003e\n\u003cdiv class=\"\"\u003e\n\u003cbr\u003eBoth a passionate indictment of the discipline of graphic design, and a utopian love letter to its radical potential, Kevin Yuen Kit Lo’s collection of almost confessional, candid essays challenge the status quo of design writing. \u003cem\u003eDesign Against Design\u003c\/em\u003e demands that we think more intimately about the politics of visual culture under contemporary capitalism and, importantly, how we can act against it.\u003cbr\u003e\u003cbr\u003e\u003cem\u003eDesign Against Design\u003c\/em\u003e is organised around four key themes: \u003cem\u003eCritique\u003c\/em\u003e presents a political-economic analysis of graphic design in relationship to capitalism and considers practical ways to resist it. \u003cem\u003ePractice\u003c\/em\u003e looks critically at how designers work towards (and sometimes against) social change within both a professional studio context and alongside social movements. \u003cem\u003eMateriality\u003c\/em\u003e focuses on the craft of graphic design; 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