{"title":"Art","description":"","products":[{"product_id":"copy-of-david-wojnarowicz-dear-jean-pierre","title":"Mel Chin and Helen Nagge, Primetime Contemporary Art: Art by the GALA Committee as Seen on Melrose Place","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem\u003ePrimetime Contemporary Art\u003c\/em\u003e is a publication documenting a radical, two-year intervention by the GALA Committee on the primetime television show Melrose Place. Originally published in a limited run in 1998, this extremely rare artist book is reproduced here for the first time as a facsimile edition.\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eMel Chin initiated the loose collective of artists known as the GALA Committee in 1995 in response to an invitation to participate in an upcoming exhibition at the Museum of Contemporary Art, Los Angeles. The artist arranged with the producers of \u003c\/span\u003e\u003cem\u003eMelrose Place\u003c\/em\u003e\u003cspan\u003e for the collective to create objects for the soap opera, resulting in an extensive series of political works used as plot devices and props across two seasons of the show. The GALA Committee’s intervention provided surreptitious commentary on reproductive rights, HIV\/AIDS, the Gulf War, domestic terrorism, corporate malfeasance, and substance abuse, among other issues. Despite some of these topics having been banned by the FCC at the time, the group’s political critiques went unnoticed by censors, subverting corporate and government controls of primetime television with a progressive agenda.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThese works were exhibited in \u003c\/span\u003e\u003cem\u003eUncommon Sense \u003c\/em\u003e\u003cspan\u003eat the Museum of Contemporary Art, Los Angeles in 1997 and then sold at an auction at Sotheby’s to support several charities. \u003c\/span\u003e\u003cem\u003ePrimetime Contemporary Art\u003c\/em\u003e\u003cspan\u003e, created by Chin and Helen Nagge, was used as the auction catalog for the evening, documented the artwork produced for the exhibition, and articulated the conceptual framework of the GALA Committee.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eMel Chin was born in Houston, Texas, and is known for the broad range of approaches in his art, including works that require multi-disciplinary, collaborative teamwork, and works that enlist science as an aesthetic component to developing complex ideas. He pioneered “green remediation” in his 1990 project, \u003c\/span\u003e\u003cem\u003eRevival Field\u003c\/em\u003e\u003cspan\u003e; presented his proposal for a New World Trade Center as part of the American representation at the 2002 Venice Biennale of Architecture; won a Pedro Sienna Award for Animation in Chile for his 2017 film, \u003c\/span\u003e\u003cem\u003e9-11\/9-11\u003c\/em\u003e\u003cspan\u003e; and founded S.O.U.R.C.E. Studio in 2017 to realize sustained engagements with community and environment. In 2018, he presented \u003c\/span\u003e\u003cem\u003eUnmoored\u003c\/em\u003e\u003cspan\u003e and \u003c\/span\u003e\u003cem\u003eWake\u003c\/em\u003e\u003cspan\u003e in Times Square, New York City, creating a visual portal into a future of rising waters, and had a forty-year-survey exhibition at the Queens Museum. He is the recipient of many awards, grants, and honorary degrees, including the MacArthur Fellowship in 2019, and was elected to the American Academy of Arts and Letters in 2021.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eHelen Nagge\u003cspan\u003e has collaborated with Mel Chin on major public art projects for over two decades. She has worked with commercial galleries and non-profit art spaces in Houston, Texas, and New York City, and developed in-house archival systems for clients and seminal American artists’ estates. She also worked in publishing for several years, notably for Simon \u0026amp; Schuster, Harvey Klinger Literary Agency, and others, and continues to edit texts for Mel Chin Studio.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eThe GALA Committee (1995-1997) was a collective of artists, faculty, and students from the University of Georgia, Athens; CalArts, Los Angeles; and Grand Arts, Kansas City formed by Mel Chin in response to the 1995 invitation to participate in the group show\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eUncommon Sense\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eat the Museum of Contemporary Art, Los Angeles. The GALA Committee included: David Adams, Elizabeth Adams, Eric Andersen, Emily Arthur, Katie Bauman, Cameron Bernie, David Blanchard, John Borthwick, Barron Brown, Alan Bush, Heather Champ, Heeyeon Chang, Mel Chin, Lance Clarke, Roymont Clements, Kathleen Hillseth Clinesmith, Karina Combs, Melissa Conroy, John Crowe, John Cupit, Lesley Dill, Heather M. Eastman, Diane Edison, Brian Ellison, Evan Firestone, Mark Flood, Joe Girandola, Terry Glispin, Nuala Glynn, Jason Grier, Garrison Gunter, Elizabeth Huber, Chip Hayes, Frank Irving, Kim Jensen, Bryan Jernigan, Karin Johansson, M. Dana Jones, Cheryl Kaplan, Kendal Kerr, Kat Kinsman, Koichi Kimura, Jeff Knowlton, Leo Knox, Bernie Koersen, H. Lan Thao Lam, Ed Lambert, Elizabeth Langford, Jon Lapointe, Tom Lawson, Kristi Leonard, Donna Marcantonio, Diana McIntosh, Mara Lonner, Wendy Lundin, Steve Maleski, Thomas Mann, Stephen McRedmond, Carol Mendelsohn, Georgia Metz, Tamara Mewis, James Millar, Stever Miller, Tam Miller, Tess Miller, Dallas Moore, Margaret Morgan, Jerry Murphy, Helen K. Nagge, Yana Nirvana, Gail Patterson, Kim Patterson, Constance Penley, Joseph Pizzorusso, Chuck Pratt, Elizabeth S. Puckett, Dan Pugh, Martha Rees, Carl Robertson, Guadalupe Rodriguez, Sandra Rodriguez, Jeff Roe, Kathleen Rogan, Huan Saussy, Sanjit Sethi, Maura Sheehan, Jocelyn Shipley, Eric Shriner, Deborah Siegel, Rachel Slowinski, Frank South, Rachael Splinter, Eric Swangstu, Troy Swangstu, Janice Tanaka, Valerie Tevere, Joseph Tucker, Kathy Vargas, Tony Velasco, Jim Wade, John Watts, David Wilson.\u003c\/p\u003e","brand":"Primary Information","offers":[{"title":"Default Title","offer_id":47407881847119,"sku":"PK0150","price":17.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_20230154.jpg?v=1695635076"},{"product_id":"copy-of-pippa-garner-better-living-catalog","title":"Lawrence Abu Hamdan, Live Audio Essays","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cp class=\"BodyA\"\u003e\u003ci\u003eLive Audio Essays\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003epresents transcripts from performances and films by Lawrence Abu Hamdan, an artist known for his political and cultural reflections on sound and listening.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp class=\"BodyA\"\u003eAbu Hamdan’s intricately crafted and heavily researched monologues are at times intimate, humorous, and entertaining, yet politically disquieting in their revelations. Using personal narratives, anecdotes, popular media, and transcripts rooted in historical and contemporary moments, the artist leads the reader through his investigations into crimes that are heard but not\u003cspan\u003e \u003c\/span\u003e\u003cspan lang=\"DA\"\u003eseen\u003c\/span\u003e. These live audio essays turn our focus to acoustic memories, voices leaking through walls and borders, the drone of warfare, cinematic sound effects, atmospheric noise, the resonant frequencies of buildings, the echoes of reincarnated lives, and the sound of hunger.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cp class=\"BodyA\"\u003e\u003ci\u003eLive Audio Essays\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003ecollects seven iconic works, which were originally presented as performances, films, or video installations from 2014 through 2022. Featured pieces include\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eContra Diction (Speech Against Itself)\u003c\/i\u003e,\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eWalled Unwalled\u003c\/i\u003e,\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eAfter SFX\u003c\/i\u003e,\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eNatq\u003c\/i\u003e,\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eA Thousand White Plastic Chairs\u003c\/i\u003e,\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eAir Pressure,\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003eand the newly-completed\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eThe \u003c\/em\u003e\u003ci\u003e45th Parallel\u003c\/i\u003e.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp class=\"BodyA\"\u003eAll the texts were transcribed and edited with the artist and are available here in a single volume for the first time.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003eLawrence Abu Hamdan is a \u003ci\u003ePrivate Ear\u003c\/i\u003e, listening to, with and on behalf of people affected by corporate, state, and environmental violence.\u003ci\u003e \u003c\/i\u003eTaking the form of forensic reports, lectures and live performances, films, and publications, his work reflects on the political and cultural context of sound and listening and has been presented at the 22nd Biennale of Sydney; the 58th Venice Biennale; the 11th Gwangju Biennale; the 13th and 14th Sharjah Biennial; Witte De With, Rotterdam; Tate Modern Tanks; Chisenhale Gallery; Hammer Museum, Los Angeles; and Portikus Frankfurt. He received his PhD in 2017 and has held fellowships and professorships at the University of Chicago; the New School, New York; and the Johannes Gutenberg University Mainz.\u003ci\u003e \u003c\/i\u003eHe is the recipient of the Toronto Biennial Audience Award, the Edvard Munch Art Award, and the Nam June Paik Award, and was the co-winner of the Turner Prize in 2019. His audio investigations have been used as evidence at the UK Asylum and Immigration Tribunal and been a key part of advocacy campaigns for organizations such as Amnesty International, Defence for Children International, and Forensic Architecture.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Primary Information","offers":[{"title":"Default Title","offer_id":47407979397455,"sku":"PK0149","price":17.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_20230078.jpg?v=1695636139"},{"product_id":"copy-of-lawrence-abu-hamdan-live-audio-essays-1","title":"Various Artists, A Something Else Reader","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cem\u003eA Something Else Reader\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eis a previously-unpublished anthology edited by Dick Higgins in 1972 to celebrate Something Else Press, the publishing house he founded in 1963 to showcase Fluxus and other experimental artistic and literary forms.\u003c\/p\u003e\n\u003cp\u003eThe publication features selections from Claes Oldenburg’s\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eStore Days\u003c\/i\u003e, John Cage’s\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eNotations\u003c\/i\u003e,\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eAn Anthology of Concrete Poetry\u003c\/i\u003e,\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eBreakthrough Fictioneers\u003c\/i\u003e, Jackson Mac Low’s\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eStanzas for Iris Lezak\u003c\/i\u003e, Gertrude Stein’s \u003ci\u003eMatisse Picasso and Gertrude Stein\u003c\/i\u003e, Bern Porter’s\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eI’ve Left\u003c\/i\u003e, Wolf Vostell’s\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eDé-coll\/age Happenings\u003c\/i\u003e, Al Hansen’s\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eA Primer of Happenings \u0026amp; Time\/Space Art, \u003c\/i\u003eand other projects for the page by Robert Filliou, Alison Knowles, Nam June Paik, Philip Corner, Daniel Spoerri, André Thomkins, and Richard Meltzer, among others. An annotated checklist assembled by Hugh Fox and Higgins’s unpublished introduction are also included.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp\u003ePerhaps no other publisher in the 60s influenced artists’ books more than Something Else Press. Higgins had a firm vision that radical art could be housed in book form and distributed throughout the world and he worked endlessly to cultivate new works that challenged conventional notions of both contemporary art and books. While other presses created extraordinary publications, none were able to achieve the breadth of titles and artists like Higgins, who successfully ran Something Else Press until 1974 in a manner that resembled a more traditional paperback publisher.\u003c\/p\u003e\n\u003cp\u003eOddly, Higgins hadn’t intended to publish\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eA Something Else Reader \u003c\/em\u003ehimself. Instead, in 1972, he assembled the table of contents and an introduction into a proposal that he then pitched to Random House. They eventually rejected the title and encouraged Higgins to publish it, but before he could do that, Something Else Press went out of business, and the dreams of the anthology evaporated. From there, the proposal went into Higgins’s archive, where it was found by scholar and curator Alice Centamore, who compiled the works and assembled\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eA Something Else Reader\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003eEleanor Antin, George Brecht, Pol Bury, Augusto de Campos, Clark Coolidge, Philip Corner, William Brisbane Dick, Robert Filliou, Albert M. Fine, Ian Hamilton Finlay, Hugh Fox, Buckminster Fuller, Eugen Gomringer, Brion Gysin, Richard Hamilton, Al Hansen, Jan J. Herman, Dick Higgins, Åke Hodell, Ray Johnson, Allan Kaprow, Kitasono Katue, Bengt af Klintberg, Alison Knowles, Richard Kostelanetz, Ruth Krauss, Jackson Mac Low, Robert K. Macadam, Toby MacLennan, Hansjörg Mayer, Charles McIlvaine, Richard Meltzer, Manfred Mohr, Claes Oldenburg, Pauline Oliveros, Nam June Paik, Benjamin Patterson, Charles Platt, Bern Porter, Dieter Roth, Aram Saroyan, Tomas Schmit, Carolee Schneemann, Mary Ellen Solt, Daniel Spoerri, Gertrude Stein, André Thomkins, Wolf Vostell, and Emmett Williams are all included in\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eA Something Else Reader\u003c\/i\u003e.\u003c\/p\u003e\n\u003cp\u003eDick Higgins was an American artist, composer, theorist, poet, and publisher, as well as a co-founder of Fluxus. After attending Yale and Columbia Universities and receiving a BA in English, he graduated from the Manhattan School of Printing. He studied music composition with Henry Cowell, attended John Cage’s course in experimental music at The New School, and participated in the inaugural Fluxus activities in Europe from Fall 1962 to Summer 1963. He founded Something Else Press in 1963 and in 1972, he founded Unpublished Editions (later renamed Published Editions). Over the course of his life, Higgins wrote and edited forty-seven books.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Primary Information","offers":[{"title":"Default Title","offer_id":47408179839311,"sku":"PK0153","price":27.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_20230116.jpg?v=1695635611"},{"product_id":"copy-of-lawrence-abu-hamdan-live-audio-essays-2","title":"Stine Janvin and Cory Arcangel, Identity Pitches","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003eIn \u003cem\u003eIdentity Pitches\u003c\/em\u003e, artists Stine Janvin and Cory Arcangel have composed conceptual music scores based on the knitting patterns for traditional Norwegian sweaters known as Lusekofte. Utilizing three of the most popular designs (Setesdal, Fana, and the eight-petal rose of Selbu) of this ubiquitous garment, Janvin creates scores for both solo and ensemble performers by mapping the knitting patterns onto the harmonic and subharmonic series and integrating the tuning principles of traditional Norwegian instruments. These scores are further manipulated by Arcangel using a custom, “deep-fried” coding script to create a series of image glitches.\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cp\u003eA foreword and an interview between the two artists provides context for the work, delving into the history of Norwegian folk music tunings and the Lusekofte sweater and their intersection with the cultural identity of the country over the last millennium.\u003c\/p\u003e\n\u003cp\u003eStine Janvin is a vocalist, performer, and sound artist based in Stavanger, Norway. Janvin works with the extensive flexibility of her voice, and the ways in which it can be used to channel physicality of sound. Often drawing from electronic music, folk music, and contemporary media, she creates audio visual works for variable spaces from theaters, to clubs and galleries, and more recently websites and digital platforms. Recent presentations include Performa Telethon, New York; Munch Live and CADS, Munchmuseet, Oslo; Deutschlandradio Kultur, Daadgalerie, and CTM Festival, Berlin; Kunsthall Stavanger, Stavanger; Rokolective, Bucharest; Wiener Festwochen, Vienna; Issue Project Room, New York; and INA GRM,  Paris.\u003c\/p\u003e\n\u003cp\u003eCory Arcangel is an artist based in Stavanger, Norway. Arcangel explores, encodes, and hacks the structural language of video games, software, and machine learning. In 2014, he established the merchandise and publishing imprint Arcangel Surfware, which opened its flagship store in Stavanger, Norway in 2018. His work has been exhibited in solo exhibitions at the Whitney Museum, New York; Carnegie Museum of Art, Pittsburgh; Barbican Art Centre, London; Reykjavik Art Museum, Iceland; Hamburger Bahnhof, Berlin; and Museum of Contemporary Art, Miami.\u003c\/p\u003e\n\u003cp\u003e84 Pages\u003cbr\u003e15 x 24 cm\u003cbr\u003ePaperback\u003cbr\u003eEdition of 2000\u003cbr\u003eSeptember 2022\u003cbr\u003e\u003cspan lang=\"NL\"\u003eISBN:\u003cspan\u003e \u003c\/span\u003e\u003cspan data-sheets-userformat='{\"2\":6721,\"3\":{\"1\":0},\"9\":2,\"12\":0,\"14\":{\"1\":2,\"2\":0},\"15\":\"\\\"Arial\\\"\"}' data-sheets-value='{\"1\":2,\"2\":\"978-1-7377979-1-3\"}'\u003e9781737797913\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Primary Information","offers":[{"title":"Default Title","offer_id":47408217915727,"sku":"PK0154","price":14.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_20230129.jpg?v=1695635399"},{"product_id":"copy-of-lawrence-abu-hamdan-live-audio-essays-5","title":"Constance DeJong, Reader","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem\u003eReader \u003c\/em\u003eis the first anthology to gather Constance DeJong’s diverse body of writing. Spanning from the 1980s to the present, the publication features eighteen works by DeJong, including out-of-print and previously unpublished fiction, as well as texts emanating from her new media sculptures, sound works, video works, and public art commissions.\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cspan\u003eAn influential figure of the 1970s and ’80s downtown New York writing and performance scene, Constance DeJong has channeled time and language as mediums in her work for the last four decades, expanding the possibilities of narrative form and literary genre. From the earliest work collected here—a manuscript of DeJong’s 1982 prose text \u003c\/span\u003e\u003cem\u003eI.T.I.L.O.E.\u003c\/em\u003e\u003cspan\u003e—to the digital project \u003c\/span\u003e\u003cem\u003eNightwriters\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e(2017-18),\u003c\/span\u003e\u003cem\u003e\u003cspan\u003e \u003c\/span\u003eReader\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003eassembles a range of experimental texts by the artist. The volume includes such works as the 2013 publication and performance, \u003c\/span\u003e\u003cem\u003eSpeakChamber\u003c\/em\u003e\u003cspan\u003e and the script for \u003c\/span\u003e\u003cem\u003eRelatives\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e(1988)\u003c\/span\u003e\u003cem\u003e,\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003ea duet between a television and a performer made in collaboration with artist Tony Oursler. Never-before-published works including texts created for re-engineered vintage radios, aphorisms commissioned for a Times Square digital billboard, and transcripts for sound works originally installed along the Thames and Hudson rivers are also featured in the book.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eTaken together, these works showcase how DeJong has helped define and push the boundaries of language in the visual and performing arts. The artist’s sustained exploration of language blurs the lines between many fields, and DeJong’s work has also had a long life in the literary world. In the late 1970s, she self-published the critically acclaimed novel \u003c\/span\u003e\u003cem\u003eModern Love\u003c\/em\u003e\u003cspan\u003e on her short-lived Standard Editions imprint. On the 40\u003c\/span\u003e\u003csup\u003eth\u003c\/sup\u003e\u003cspan\u003e anniversary of the novel’s original publication, the book was published in facsimile form by Primary Information and Ugly Duckling Presse, and has gone on to sell over 10,000 copies since its release in 2017.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eConstance DeJong is a New York-based artist who has exhibited and performed internationally. Her work has been presented at the Renaissance Society, Chicago; the Walker Art Center, Minneapolis; the Wexner Center for the Arts, Columbus; the Philadelphia Museum of Art; and in New York at the Dia Art Foundation; The Kitchen, Thread Waxing Space, and the Whitney Museum of American Art. In 1983 she composed the libretto for \u003c\/span\u003e\u003cem\u003eSatyagraha\u003c\/em\u003e\u003cspan\u003e, the Philip Glass opera, which has been staged at opera houses worldwide, including the Metropolitan Opera, New York; the Netherlands National Opera, Rotterdam; and the Brooklyn Academy of Music, New York. She has permanent audio-text installations in Beacon, New York; London; and Seattle. DeJong has published several books of fiction, including her celebrated \u003c\/span\u003e\u003cem\u003eModern Love\u003c\/em\u003e\u003cspan\u003e (Standard Editions, 1977; Primary Information\/Ugly Duckling Presse, 2017), \u003c\/span\u003e\u003cem\u003eI.T.I.L.O.E.\u003c\/em\u003e\u003cspan\u003e (\u003c\/span\u003e\u003cem\u003eTop Stories\u003c\/em\u003e\u003cspan\u003e, 1983), and \u003c\/span\u003e\u003cem\u003eSpeakChamber\u003c\/em\u003e\u003cspan\u003e (Bureau, 2013), and her work is included in the anthologies \u003c\/span\u003e\u003cem\u003eUp is Up, But So is Down: New York’s Downtown Literary Science, 1974-1991\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e(NYU Press, 2006); \u003c\/span\u003e\u003cem\u003eBlasted Allegories\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e(New Museum\/MIT, 1987), and \u003c\/span\u003e\u003cem\u003eWild History\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e(Tanam Press, 1985).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003c\/span\u003e\u003cspan\u003eEdition of 3500\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Primary Information","offers":[{"title":"Default Title","offer_id":47408481796431,"sku":"PK0156","price":15.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_20230121.jpg?v=1695635502"},{"product_id":"copy-of-constance-dejong-reader","title":"William Wegman, Writing by Artist","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem\u003eWriting by Artist\u003c\/em\u003e is the first collection to focus on William Wegman’s lengthy and deeply funny relationship to language and is filled with previously unknown and wildly entertaining texts, drawings, and early photographs spanning the early 1970s to the present.\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cp\u003eNot your standard book of essays, the publication was meticulously edited by Andrew Lampert to feature works incorporating words in one form or another. In some instances, the text is simply a caption or a few hand-written words, but all of the selected works hinge conceptually and pictorially on writing and language.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eWriting by Artist \u003c\/em\u003eoffers a wide range of entry points into the artist’s universe. There are early photographic works, which may be familiar, but from there, things delightfully unravel with absurd non-sequiturs typed on Princess Cruises stationary, imagined restaurant reviews, witty annotations to a curator’s essay, musings on ancient footwear, deliberate mistranslations, reworked greeting cards, fictional advertisements for real life products, and other surprising prose forms.\u003c\/p\u003e\n\u003cp\u003eUltimately,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eWriting by Artists \u003c\/em\u003ealters the logic and pushes the boundaries of what artist writing can be—shedding new light for those only familiar with Wegman’s later work, while serving as a welcome reminder of the artist’s madcap inventiveness for the already enlightened. In short, what you do or don’t know about William Wegman now conveniently fits into this strangely beguiling collection.\u003c\/p\u003e\n\u003cp\u003eWilliam Wegman was born in 1943 in Holyoke, Massachusetts. His work has been exhibited at museums and galleries internationally including retrospectives at the Whitney Museum of American Art, the Walker Art Center, the Wexner Center for the Arts, and the Centre Pompidou. Recent exhibitions include\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eBefore\/On\/After: William Wegman and California Conceptualism \u003c\/em\u003eat the Metropolitan Museum of Art. Wegman has also created film and video works for\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eSaturday Night Live\u003c\/em\u003e, Nickelodeon, and\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eSesame Street \u003c\/em\u003eand appeared on \u003cem\u003eThe Tonight Show, The \u003c\/em\u003e\u003cem\u003eDavid Letterman Show\u003c\/em\u003e, and\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eThe Colbert Report\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003eAndrew Lampert is a New York-based artist, writer, archivist, and primary in the firm Chen \u0026amp; Lampert. His works have been internationally exhibited at venues including the Whitney Museum of American Art, New York Film Festival, Getty Museum, Toronto International Film Festival, and the International Film Festival Rotterdam, among many other venues. He has edited books on Tony Conrad, Manuel De Landa, George Kuchar, and Harry Smith. Lampert was formerly Curator of Collections at Anthology Film Archives, where he preserved hundreds of films and videos and co-programmed public screenings. His videos are distributed by Electronic Arts Intermix.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Primary Information","offers":[{"title":"Default Title","offer_id":47408562209103,"sku":"PK0159","price":22.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_20230204.jpg?v=1695634616"},{"product_id":"copy-of-deforrest-brown-jr-assembling-a-black-counter-culture-1","title":"Howie Chen, Godzilla: Asian American Arts Network 1990-2001","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem\u003eGodzilla: Asian American Arts Network 1990–2001\u003c\/em\u003e is a comprehensive anthology of writings, art projects, publications, correspondence, organizational documents, and other archival ephemera from the trailblazing Asian artist collective. Edited by curator Howie Chen, this publication includes full essays and contextual material detailing the critical genealogies embodied by the group as well as its wide-ranging activities.\u003cbr\u003e\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cp\u003eThe collective known as Godzilla: Asian American Art Network was formed in 1990 to support the production of critical discourse around Asian American art and increase the visibility of Asian American artists, curators, and writers, who were negotiating a historically exclusionary society and art world. Founded by Ken Chu, Bing Lee, and Margo Machida, Godzilla produced exhibitions, publications, and community collaborations that sought to stimulate social change through art and advocacy. For more than a decade, the diasporic group, having grown from a local organization into a nationwide network, confronted institutional racism, Western imperialism, anti-Asian violence, the AIDS crisis, and representations of Asian sexuality and gender, among other urgent issues.\u003c\/p\u003e\n\u003cp\u003eGodzilla created a social space for diasporic Asian artists and art professionals, including members Tomie Arai, Karin Higa, Byron Kim, Paul Pfeiffer, Eugenie Tsai, Alice Yang, Lynne Yamamoto, among others.  Envisioning a lateral and porous network, Godzilla was independently run by successive steering committees that included Diyan Achjadi, Tomie Arai, Todd Ayoung, Monica Chau, Debi-Ray Chaudhuri, China Blue, Allan deSouza, Skowmon Hastanan, Arlan Huang, Michi Itami, Jenni Kim, Franky Kong, Jeanette Louie, Yong Soon Min, Helen Oji, Sanda Zan Oo, Athena Robles, Carol Sun, Eugenie Tsai, Lynne Yamamoto, Rubina Yeh, and Charles Yuen.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Primary Information","offers":[{"title":"Default Title","offer_id":47408570597711,"sku":"PK0161","price":22.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_20230179.jpg?v=1695634832"},{"product_id":"copy-of-constance-dejong-reader-1","title":"Aram Saroyan, TOP","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eTOP is an artist book produced by Aram Saroyan in 1965. Unfolding across eight multi-color pages, the concrete poem represents a top that spins from slow to fast to slow as the reader moves through the book. The colors and letters (comprising an obliquely glimpsed word) change in accordance with each page to notate the speed of the spinning top. Produced as an accordion fold with taped seams, TOP can be read as a book or unfolded to stand on a shelf or table.\u003c\/p\u003e\n\u003cdiv\u003eThe original publication was printed on the off-set press at Academy Typing Service, owned and managed by the painter Virginia Admiral, the ex-wife of painter Robert De Niro, Sr. and mother of the actor. The press run, while projected to be 300 copies, was truncated at “around sixty” for reasons, says Saroyan, “no longer ascertainable.”In 2021, Primary Information and the artist decided to finish the edition, producing a facsimile edition of 240 copies. All are signed and numbered (beginning with 61).Aram Saroyan is a writer well known for his early minimalist, conceptual, and Concrete poetry of the 1960s. Over the course of the last six decades, Saroyan has written over 30 books in a variety of forms including several novels, memoirs, plays, long- and short-form journalism, and essays, garnering awards and esteemed grants along the way. Since the initial publication of Complete Minimal Poems in 2008, Saroyan has begun producing new works in minimal and conceptual form, which have found new audiences in the art world. His work was included in the Made in L.A.exhibition at the Hammer Museum in 2016, for which he contributed the subtitle a, the, though, only.\u003c\/div\u003e","brand":"Primary Information","offers":[{"title":"Default Title","offer_id":47408645013839,"sku":"PK0162","price":55.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/PK0162_TOP.jpg?v=1695646750"},{"product_id":"copy-of-steffani-jemison-a-rock-a-river-a-street","title":"Michael Asher, Writings 1973–1983 on Works 1969–1979","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem\u003eWritings 1973–1983 on Works 1969–1979 \u003c\/em\u003eis an essential document of a decade of formative work by Michael Asher. Originally published in 1983, the book presents 34 works through the artist’s writings, photographic documentation, architectural floor plans, exhibition announcements, and other ephemera.\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cp\u003eAsher did not create traditional art objects; instead, he chose to alter the existing institutional apparatus through which art is presented, creating work dependent on the architectural, social, or economic systems that undergird how art is produced and experienced. For example, in 1974, he removed the partition wall dividing the office and gallery space of the Claire Copley Gallery in Los Angeles. In another work from 1978, Asher had a bronze replica of a nineteenth-century sculpture of George Washington moved from the exterior of the Art Institute of Chicago to a room in the museum that housed eighteenth-century art, changing its location, but also its function from a public monument to an indoor sculpture, as it was originally intended.\u003c\/p\u003e\n\u003cp\u003eDue to its site specificity and immateriality, Asher’s work ceased to exist after an exhibition, which makes this highly sought-after book the definitive mode through which one can gain insight into the work he made during this period. As the artist states in the introduction: “This book as a finished product will have a material permanence that contradicts the actual impermanence of the art-work, yet paradoxically functions as a testimony to that impermanence of my production.”\u003c\/p\u003e\n\u003cp\u003eInitiated by Kasper König, \u003ci\u003eWritings 1973-1983 on Works 1969-1979 \u003c\/i\u003ewas originally co-published by the Press of the Nova Scotia College of Art and Design and the Museum of Contemporary Art, Los Angeles, and was largely shaped by Asher’s close collaboration with art historian Benjamin H.D. Buchloh, who succeeded König as editor of the press.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Primary Information","offers":[{"title":"Default Title","offer_id":47408651731279,"sku":"PK0163","price":29.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_20230165.jpg?v=1695634980"},{"product_id":"copy-of-lawrence-abu-hamdan-live-audio-essays-6","title":"Flora Yin-Wong, Liturgy","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem\u003eLiturgy\u003c\/em\u003e is a journey into the uncanny realm of the senses that dives into histories of perception and intuition. The artist Flora Yin-Wong deploys a variety of images and texts to explore issues related to cosmic principles, conspiracies, and parallel universes. The result is a constellatory work filled with religion, dreams, and fragmented memories and knowledge that also gestures at the artist’s own history. The book’s chapters—Rituals \u0026amp; Fire; Omens; Hexagrams \/ Oracles; Curses; Gods \u0026amp; Creatures; Places Doors to Hell \/ Ghost Cities; Paradoxes; Sound Phenomena; Reality—function like a secret dossier inflected with flights of fantasy, speaking to systems of faith and language and its corruptions.\u003cbr\u003e\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cp\u003eDivining inspiration from meditation, oracles, curses, hexagrams, Cantonese traditions, and superstitions,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eLiturgy\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003einterweaves textual and visual collage to create a multi-layered tonality. Reflected here is the multidisciplinary artist’s interest in the web between fiction, memory, rituals, and incantation, as well as her approach to sound.\u003c\/p\u003e\n\u003cp\u003eFlora Yin-Wong is a London–born, Chinese-Malaysian writer, producer, and DJ who has released material on the labels Modern Love and PAN. Her sonic work uses traditional instruments, software processing, and text-based storytelling, and has been performed at venues including ISSUE Project Room (New York), the Victoria \u0026amp; Albert Museum (London), Volksbühne Theater (Berlin), and Berghain (Berlin).\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Primary Information","offers":[{"title":"Default Title","offer_id":47408660087119,"sku":"PK0164","price":12.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_20231315.jpg?v=1698231065"},{"product_id":"copy-of-constance-dejong-reader-3","title":"Dara Birnbaum, Note(s): Work(ing) Process(es) Re: Concerns (That Take On \/ Deal With)","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv\u003e\n\u003cp\u003eThis limited edition of Dara Birnbaum’s\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eNote(s): Work(ing) Process(es) Re: Concerns (That Take On \/ Deal With)\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eis published in an edition of 100 and includes a new dust jacket signed and numbered by the artist. The front and back covers of the dust jacket each feature a unique black-and-white photograph that extends onto the jacket’s inner flaps. Taken by the artist in 1975, these images are from her first installation,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eBack Piece\u003c\/em\u003e, which is also featured in the publication.\u003c\/p\u003e\n\u003cp\u003eOriginally created in 1977 as a single handmade copy, Dara Birnbaum’s \u003cem\u003eNote(s): Work(ing) Process(es) Re: Concerns (That Take On \/ Deal With) \u003c\/em\u003egathers writings, working drawings, photographic documentation, and ephemera from the artist’s earliest video and installation works. The publication was originally produced by Birnbaum and exhibited in \u003cem\u003eNotebooks, Workbooks, Scripts, and Scores \u003c\/em\u003eat Franklin Furnace in 1977. The book’s vinyl cover and section dividers, hand-folded pages, and color images have all been reproduced, and Alex Kitnick provides a new introduction.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eNote(s) \u003c\/em\u003eprovides a rare look into Birnbaum’s early investigations of video art and its relationship to television. Her work of this period orchestrates a complex circuit of viewership and representation, in which her interest in psychoanalytic concepts—projective identification, regression, resistance, and intersubjectivity—are analyzed in tandem with the formal and interpersonal politics of image making. These investigations lay the groundwork for the artist’s breakthrough works, such as \u003cem\u003eTechnology\/Transformation: Wonder Woman\u003c\/em\u003e and \u003cem\u003eKiss the Girls: Make Them Cry\u003c\/em\u003e, in which she appropriates popular television programs to critique the language and images of networked television.\u003c\/p\u003e\n\u003cp\u003eFeatured works include \u003cem\u003eBack Piece \u003c\/em\u003e(1975), \u003cem\u003eAttack Piece \u003c\/em\u003e(1975), \u003cem\u003eMirroring \u003c\/em\u003e(1975), \u003cem\u003eLiberty: A Dozen or So Views \u003c\/em\u003e(1976), \u003cem\u003eRelationship Perspectives: Perspective Relationships \u003c\/em\u003e(1976–77), \u003cem\u003eAmerica: Land of Contrasts (A Day of Awakening) (A Shot in the Dark) \u003c\/em\u003e(1976–77), \u003cem\u003ePivot: Turning Around Suppositions \u003c\/em\u003e(1976), and \u003cem\u003eLesson Plans to Keep the Revolution Alive \u003c\/em\u003e(1977).\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eDara Birnbaum was born in New York City in 1946, and studied architecture at Carnegie Mellon University and painting at the San Francisco Art Institute. Recognized as one of the first artists to manipulate television footage to “talk back to the media,” Birnbaum enlists video technology and mass media images to deconstruct and redefine cultural, personal, and historical mythologies. Drawing from critical theory, literature, and feminist thought, Birnbaum matrixes film techniques such as dramatic wipes and layered images onto works that are deeply introspective and experiential. Her work has been widely exhibited, including at MoMA PS1, New York (2019); National Portrait Gallery, London (2018); the Cleveland Museum of Art, Ohio (2018); the Museum of Modern Art, New York (2008); and the Kunsthalle Wien, Vienna, Austria (2006).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eEdition of 100\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Primary Information","offers":[{"title":"Default Title","offer_id":47408748134735,"sku":"PK0166","price":31.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_20230194.jpg?v=1695634761"},{"product_id":"copy-of-constance-dejong-reader-4","title":"Trevor Paglen, From the Archives of Peter Merlin, Aviation Archaeologist","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cem\u003eFrom the Archives of Peter Merlin, Aviation Archaeologist\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eis an artist book that features new photographs and text by Trevor Paglen centered on the archive of Peter Merlin—a historian, technical writer, and leading expert on classified aircraft.\u003c\/p\u003e\n\u003cp\u003eGuided by the idea that “something always remains,” Merlin, a former NASA archivist, has amassed a vast collection of flight wreckage, dossiers, and memorabilia—objects that are sometimes the only remnants of covert government operations. Merlin’s collection is primarily focused on military bases such as Area 51 and the Edwards Air Force Base, as well as the surrounding crash sites of experimental government aircraft.\u003c\/p\u003e\n\u003cp\u003eIn\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eFrom the Archives of Peter Merlin, Aviation Archaeologist\u003c\/em\u003e, Paglen has selected fifty-nine objects from Merlin’s collection that range from the sinister to the mundane to the humorous. His stark photographs of these symbol-laden challenge coins, patches, models, and other objects build on his long-standing interest in the culture of secrecy while providing a fragmentary peek into decades of elusive military missions. The book continues Paglen’s ongoing work with experimental geography, state secrecy, and military symbology in exhibitions and book form.\u003c\/p\u003e\n\u003cp\u003eTrevor Paglen (b. 1974) lives and works in Berlin and New York. His work spans photography, sculpture, investigative journalism, writing, and engineering; has been the subject of solo exhibitions at the Smithsonian, Eli \u0026amp; Edythe Broad Art Museum, Frankfurter Kunstverein, and Vienna Secession; and has been featured in group exhibitions at the Metropolitan Museum of Art, the San Francisco Museum of Modern Art, and the Tate Modern. He has launched an artwork into orbit around Earth in collaboration with Creative Time and MIT and contributed research and cinematography to the film\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eCitizenfour\u003c\/em\u003e. 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Adorno, René Block, Jean Dubuffet, Milan Knizak, László Moholy-Nagy, Christiane Seiffert, and Hans Rudolf Zeller, as well as a flexi disc of the Arditti Quartet performing Knizak’s “Broken Music.” The centerpiece of the publication is a nearly 200-page bibliography of artists’ records.\u003c\/p\u003e\n\u003cp\u003eWorks chosen for the publication revolved around four criteria: (1) record covers created as original work by visual artists; (2) record or sound-producing objects (multiples\/editions\/sculptures); (3) books and publications that contain a record or recorded-media object; and (4) records or recorded media that have sound by visual artists.\u003c\/p\u003e\n\u003cp\u003eArtists documented in the volume include Vito Acconci, albrecht\/d., Laurie Anderson, Guillaume Apollinaire, Karel Appel, Arman, Hans Arp, Antonin Artaud, John Baldessari, Hugo Ball, Claus van Bebber, John Bender, Harry Bertoia, Jean-Pierre Bertrand, Joseph Beuys, Mel Bochner, Claus Böhmler, Christian Boltanski, KP Brehmer, William Burroughs, John Cage, Henri Chopin, Henning Christiansen, Jean Cocteau, William Copley, Philip Corner, Merce Cunningham, Hanne Darboven, Jim Dine, Marcel Duchamp, Max Ernst, Lawrence Ferlinghetti, Fischli and Weiss, R. Buckminster Fuller, Allen Ginsberg, Philip Glass, Jack Goldstein, Peter Gordon, Hans Haacke, Richard Hamilton, Bernard Heidsieck, Holger Hiller, Richard Huelsenbeck, Isidore Isou, Marcel Janco, Servie Janssen, Jasper Johns, Joe Jones, Thomas Kapielski, Allan Kaprow, Martin Kippenberger, Per Kirkeby, Cheri Knight, Milan Knizak, Richard Kriesche, Christina Kubisch, Laibach, John Lennon, Sol Lewitt, Roy Lichtenstein, Annea Lockwood, Paul McCarthy, Meredith Monk, Josef Felix Müller, Piotr Nathan, Hermann Nitsch, Albert Oehlen, Frank O’Hara, Claes Oldenburg, Yoko Ono, Dennis Oppenheim, Nam June Paik, Charlemagne Palestine, A.R. Penck, Tom Phillips, Robert Rauschenberg, The Red Crayola, Ursula Reuter Christiansen, Gerhard Richter, Jim Rosenquist, Dieter Roth, Gerhard Rühm, Robert Rutman, Sarkis, Thomas Schmit, Conrad Schnitzler, Kurt Schwitters, Selten Gehörte Musik, Richard Serra, Robert Smithson, Michael Snow, Keith Sonnier, Strafe für Rebellion, Jean Tinguely, Moniek Toebosch, Tristan Tzara, Ben Vautier, Yoshi Wada, Emmett Walsh, Andy Warhol, William Wegman, and Lawrence Weiner.\u003c\/p\u003e\n\u003cp\u003eUrsula Block is a curator living in Berlin, Germany. From 1981 until 2014, she ran gelbe Musik, a gallery and record shop in Berlin that featured work by artists at the crossroads between music and art.\u003c\/p\u003e\n\u003cp\u003eMichael Glasmeier is a professor, writer, and editor living in Berlin, Germany. Since the early 1980s, he has curated dozens of shows that explore the intersection between the visual arts, music, film, and language.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Primary Information","offers":[{"title":"Default Title","offer_id":47409015357775,"sku":"PK0178","price":26.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_20230171.jpg?v=1695634935"},{"product_id":"copy-of-constance-dejong-reader-5","title":"Lee Lozano, Notebooks 1967-70","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThis publication is a compilation of Lee Lozano’s notebooks from 1967 to 1970. The three notebooks included here contain her seminal \u003cem\u003e“Language Pieces”\u003c\/em\u003e and drawings for her paintings, including 12 studies for her 11-panel masterpiece, \u003cem\u003e“Wave Series.”\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cp\u003eLee Lozano (1930-1999) was an enigmatic artist making a diverse body of drawings, paintings, and conceptual works. While prolific, her production was limited to her time in New York from the early 1960s to the early 1970s. She was very actively engaged with other artists in New York until she decided to leave the art world in 1972. Until recently, much of her work has been difficult for the public to access. From the time of her boycott of the art world until her death, Lozano was an artist working conceptually even though she did not participate actively in the commercial art world for the last three decades of her life.\u003c\/p\u003e\n\u003cp\u003eThe pages of the notebooks contain notes and sketches related to her abstract paintings and also contain her texts, which were known as \u003cem\u003e“Language Pieces.”\u003c\/em\u003e The artist’s work in the books reveal her desire to live and create art within a structured system. Lozano considered the individual pages of her notebooks to be drawings, and they were sometimes separated and exhibited. Twenty-five years ago, the notebooks were photocopied and it is that record which serves as the basis for this book.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eNotebooks 1967-70\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003ewas first published by Primary Information in 2010. This is the second printing.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Primary Information","offers":[{"title":"Default Title","offer_id":47409081549135,"sku":"PK0180","price":22.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_20230210.jpg?v=1695634566"},{"product_id":"copy-of-various-artists-broken-music","title":"Various Artists, Fantastic Architecture","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003ePrimary Information is reprinting the seminal book, \u003cem\u003eFantastic Architecture\u003c\/em\u003e, making the book widely available for the first time since it was originally published: first in 1969 by Droste Verlag in German (with the title Pop Architektur) and later in 1970 by Something Else Press as \u003cem\u003eFantastic Architecture\u003c\/em\u003e. Edited by Dick Higgins and Wolf Vostell, this artist’s book\/anthology explores the boundaries between pop art and architecture through writings and projects by key artists and thinkers of the 1960s and earlier—from John Cage and Buckminster Fuller to Kurt Schwitters and Joseph Beuys.  It will retain the book’s unique design, specifically its Mylar inserts, which add unique depth and elaborate the publication’s content.\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cp\u003eContributors to this publication are Ay-O, Joseph Beuys, Erich Buchholz, Pol Bury, John Cage, Philip Corner, Jan Dibbets, Robert Filliou, Buckminster Fuller, Geoffrey Hendricks, Richard Hamilton, Raoul Hausmann, Michael Heizer, Jan Jacob Herman, Bici Hendricks, Dick Higgins, K.H. Hoedicke, Hans Hollein, Douglas Huebler, Milan Knizak, Alison Knowles, Addi Koepcke, Franz Mon, Claes Oldenburg, Dennis Oppenheim, Gerhard\u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"st\"\u003eRühm, Diter Rot, Carolee Schneemann, Kurt Schwitters, Daniel Spoerri, Frances Starr, Jean Tinguely, Ben Vautier, Wolf Vostell, Lawrence Weiner, Stefan Wewerka.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Primary Information","offers":[{"title":"Default Title","offer_id":47409277796687,"sku":"PK0188","price":18.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_20230628.jpg?v=1695729715"},{"product_id":"copy-of-constance-dejong-modern-love-2","title":"Fia Backström, COOP a-script","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cem\u003eCOOP a-script\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eis an artist book based on two performance scripts by Fia Backström, extending her exploration of visual and spoken language, global community, bureaucratic jargon, and mood and communication disorders. The first section of the book, “Aphasia as a visual way of speaking, on A-production and other language syndromes,” consists of a text written in four parts. When this work was performed at The Poetry Project in New York City, the artist organized the script across the venue’s floor and wall in a grid. To read the text, Backström moved her body across the floor, fragmenting the linear base structure of the text and inserting additional texts as her body made contact with the manuscript. Within this book, this process of fragmentation is preserved with passages linked by mathematical symbols to the second set of texts, which are placed at random within the four parts. This allows the reader to experience a fractured, non-linear reading of the script in line with the artist’s performance of the material.\u003c\/p\u003e\n\u003cp\u003eThe second script, “ME must be turned upside down to become WE,” serves as an epilogue to the first script, and is to be read by several performers “reading from beginning to end without assigned lines, in no particular turn, and sometimes simultaneously.”\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eCOOP a-script\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003ehas been developed graphically by Backström to reflect back to the sources and technologies used to create the work, which range from emails and iPhone notes to scientific reports. The book retains many elements of a hybrid style that culls from English and Swedish, Backström’s native language. This hybridization of language underscores the artist’s interest in the way that mistranslations and descriptive linguistics can operate as functional, evolving languages across geographic borders, media frames, and social communities.\u003c\/p\u003e\n\u003cp\u003eFia Backström is an artist based in New York. Since the late 90s, her text-based practice has included photography, performance, events, installation, and writing. In the early 2000s, Backström created some of her exhibitions as “a fia backström production,” where she included other artists’ works to create installations that played with group show conventions. Backström continues to comment on collective engagement—often through the photographic image and by incorporating other artists into her installations and performances—and explorations of conventions of display.\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eEdition of \u003cmeta charset=\"utf-8\"\u003e1000\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Primary Information","offers":[{"title":"Default Title","offer_id":47409374134607,"sku":"PK0185","price":15.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_20231375.jpg?v=1698411972"},{"product_id":"copy-of-alex-hubbard-removal-technician","title":"Darren Bader, 77 and\/or 58 and\/with 19","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cem\u003e77 and\/or 58 and\/with 19\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eis a book of texts for seventy-seven artworks by Darren Bader. Each text is a certificate text issued to an owner of the artist’s work. Sometimes generative of an artwork, sometimes delimiting its use\/display, the certificates are integral to Bader’s practice with their language echoing the sensitivity and wit of his exhibitions. The publication collects these certificate texts for works from throughout the artist’s career. Images only appear when texts refer to specific photographs.\u003c\/p\u003e\n\u003cp\u003eDarren Bader is an artist based in New York. He is represented by Andrew Kreps Gallery, Sadie Coles HQ, Galleria Franco Noero, and Blum \u0026amp; Poe. His work has been the subject of solo exhibitions at the Kölnischer Kunsteverein, Germany and PS1, New York, and has been featured in group exhibitions at the Serralves Museum, Whitney Museum, Palais de Tokyo, and MOCA, Los Angeles.\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003c\/span\u003e\u003cspan\u003eEdition of 1000\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Primary Information","offers":[{"title":"Default Title","offer_id":47409501471055,"sku":"PK0186","price":14.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_20230623.jpg?v=1695729511"},{"product_id":"copy-of-alex-hubbard-removal-technician-1","title":"Various Artists, Top Stories","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cem\u003eTop Stories\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003ewas a prose periodical published from 1978 to 1991 by the artist Anne Turyn in Buffalo, New York, and New York City. Over the course of twenty-nine issues, it served as a pivotal platform for experimental fiction and art through single-artist issues and two anthologies. The entire run of\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eTop Stories\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eis collected and reproduced here across two volumes.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eTop Stories\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003eprimarily featured female artists, though in Turyn’s words a few men “crept in as collaborators.” Although primarily “a prose periodical” (as its byline often stated), the issues varied in form and aesthetics, pushing the boundaries of what prose could be and, from time to time, escaping the genre altogether. In fact, the only parameters required for participants were that the periodical’s logo and issue list be included on the front and back covers, respectively.\u003c\/p\u003e\n\u003cp\u003eA great deal of the works are short stories by the likes of Pati Hill, Tama Janowitz, and Kathy Acker, whose Pushcart Prize–winning “New York City in 1979” appeared for the first time in book form as part of the series. Constance DeJong contributes “I.T.I.L.O.E.,” a widely unavailable work that features the artist’s trademark prose and is sure to please fans of her novel,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eModern Love\u003c\/em\u003e. The largest issue of the periodical is undoubtedly Cookie Mueller’s\u003cspan\u003e \u003c\/span\u003e\u003cem\u003e“\u003c\/em\u003eHow to Get Rid of Pimples,” which consists of a series of character studies of friends interspersed with photographs by David Armstrong, Nan Goldin, and Peter Hujar altered with freshly drawn blemishes.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eTop Stories\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003ealso celebrates less conventional literary forms. Issues by Lisa Bloomfield, Linda Neaman, and Anne Turyn take the form of artists’ books, juxtaposing image and text to construct tightly wound, interdependent narratives. Jenny Holzer and Peter Nadin present a collaborative work in copper ink comprised of truisms by Holzer on corporeal and emotional states and drawings of abstract bodies by Nadin. Janet Stein contributes a comic, while Ursule Molinaro provides a thorough index of daily life (and the contempt it produces) consisting of entries that were written just prior to lighting a cigarette.\u003c\/p\u003e\n\u003cp\u003ePrimary contributors include Kathy Acker, Laurie Anderson, Sheila Ascher, Douglas Blau, Lisa Bloomfield, Linda L. Cathcart, Cheryl Clarke, Susan Daitch, Constance DeJong, Jane Dickson, Judith Doyle, Lee Eiferman, Robert Fiengo, Joe Gibbons, Pati Hill, Jenny Holzer, Gary Indiana, Tama Janowitz, Suzanne Jackson, Suzanne Johnson, Caryl Jones-Sylvester, Mary Kelly, Judy Linn, Micki McGee, Ursule Molinaro, Cookie Mueller, Peter Nadin, Linda Neaman, Glenn O’Brien, Romaine Perin, Richard Prince, Lou Robinson, Janet Stein, Dennis Straus, Sekou Sundiata, Leslie Thornton, Kirsten Thorup, Lynne Tillman, Anne Turyn, Gail Vachon, Brian Wallis, Jane Warrick, and Donna Wyszomierski.\u003c\/p\u003e\n\u003cp\u003eDavid Armstrong, Nan Goldin, JT Hryvniak, Peter Hujar, Nancy Linn, Trish McAdams, Linda Neaman, Marcia Resnick, Michael Sticht, and Aja Thorup all make appearances as well, contributing artwork for the covers or as illustrations.\u003c\/p\u003e\n\u003cp\u003eAnne Turyn is a photographer based in New York. Turyn’s work has been exhibited at the Museum of Modern Art, the Metropolitan Museum of Art, Kunsthalle Bern, Denver Art Museum, Walker Art Center, and Los Angeles County Museum of Art.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Primary Information","offers":[{"title":"Default Title","offer_id":47409594073423,"sku":"PK0160","price":23.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_20231367.jpg?v=1698411211"},{"product_id":"copy-of-alex-hubbard-removal-technician-2","title":"James Hoff, Top Ten: 1998-2008","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem\u003eTop Ten: 1998–2008\u003c\/em\u003e is a new edition of the long-out-of-print publication by James Hoff.\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv role=\"main\" id=\"content\"\u003e\n\u003cdiv class=\"product type-product post-7019 status-publish first outofstock product_cat-fundraising-editions product_cat-projects has-post-thumbnail taxable shipping-taxable product-type-simple\" id=\"product-7019\"\u003e\n\u003cdiv class=\"summary entry-summary\"\u003e\n\u003cdiv class=\"woocommerce-product-details__short-description\"\u003e\n\u003cp\u003eIn almost every issue since April 1998, \u003cem\u003eArtforum\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003ehas asked an individual from the art world to compile a top ten list of their favorite recent exhibitions (or concerts, television programs, books, events, etc.). In this volume, Hoff compiles the first ten years of this column into a new publication, with all of the articles’ accompanying images redacted, rendering the pictorial layout and design as a single graphic plane of black squares and occasional ovals.\u003c\/p\u003e\n\u003cp\u003eBy reducing the column to its graphic skeleton, the artist forces the reader’s attention to the text, as well as to the strategies the authors used for constructing it. The publication offers a parallel, perhaps even casual, reading of art-making during its ten-year span, capturing a who’s who of cultural critics and producers as chosen by the magazine.\u003c\/p\u003e\n\u003cp\u003eJames Hoff is an artist living and working in Brooklyn, NY. He is a co-founder and director at Primary Information.\u003c\/p\u003e\n\u003cp\u003eEdition of 200\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"press\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Primary Information","offers":[{"title":"Default Title","offer_id":47409677730127,"sku":"PK0176","price":36.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/PK0176_Top_Ten.jpg?v=1695646187"},{"product_id":"copy-of-constance-dejong-reader-8","title":"Sarah Crowner, Patterns","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003eSarah Crowner’s\u003cem\u003e Patterns \u003c\/em\u003eis the second artist book in a series that she has been developing around the formal aspects of her painting practice.\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cp\u003eIn \u003cem\u003ePatterns\u003c\/em\u003e, Crowner assembles and layers a multitude of patterns that have inspired her recent work. This material is comprised of repetitive visual systems found in nature, architecture, fashion, sculpture, and painting that she has culled from a variety of source media: photographs, magazine pages, drawings, and advertisements, among others. The artist has collaged this material into a moving narrative that establishes a conversation with images of her own work and ephemera, which are interspersed throughout the book.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003ePatterns \u003c\/em\u003eprovides rare insight into the artist’s process, situating the reader inside the formal systems that populate our day-to-day lives. While the artist’s exhibitions and paintings demonstrate a hard edge, this publication skirts those edges with corporeality, either through the artist’s sketchbook marks, textured drawings, and torn pages, or through the images’ many subjects living their lives: trying on shoes, dancing, commuting, recreating, or working. While painting has always been concerned with the act of viewing (something Crowner does astutely), it is here that we can see the artist and her subjects living amongst and generating the visual patterns that have come to define her work.\u003c\/p\u003e\n\u003cp\u003eSarah Crowner (b. 1974, Philadelphia) lives and works in New York. Crowner’s work was the subject of a solo exhibition at MASS MoCA (Massachusetts) in 2016 and has been exhibited in group exhibitions at the Institute of Contemporary Art (Philadelphia), The Jewish Museum (New York), the Museum of Contemporary Art (Detroit), the Museum of Fine Arts (Boston), the Museum of Modern Art (New York), the Walker Art Center (Minneapolis), the Whitney Museum of American Art (New York), WIELS Contemporary Art Centre (Brussels), and the Zacheta National Museum of Art (Warsaw). In 2017 her work was the subject of a site-specific installation at the Wright Restaurant, commissioned by the Solomon R. Guggenheim Museum.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Primary Information","offers":[{"title":"Default Title","offer_id":47409760141647,"sku":"PK0179","price":14.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_20231395.jpg?v=1698414406"},{"product_id":"copy-of-scott-massey-the-nest-the-calarts-poster-archive-print-1","title":"Roman Klonek, Woodcut Vibes","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eRoman Klonek, born in Kattowitz \/ Poland, has a spot for old fashioned cartoons and modern block printing styles. In the 90s he studied Graphic Arts in Dusseldorf and discovered a passion for woodcut. With this book the Dusseldorf artist gives a detailed insight into the working process and the background of his woodcut prints.\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cp class=\"p1\"\u003eThe woodcut technique is particularly interesting, as it is primarily known as a “very old” medium and therefore often creates a surprise effect, especially with contemporary motifs. Feel invited to follow the pages about a variety of whimsical characters, often half animal \/ half human in preferably curious surroundings and embarrassing situations.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eA bizarre balancing act between propaganda, folklore and pop!\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\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","brand":"Slanted","offers":[{"title":"Default Title","offer_id":47413411184975,"sku":"PK0116","price":20.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/woodcut.jpg?v=1698678218"},{"product_id":"copy-of-roman-klonek-woodcut-vibes","title":"Rubén Sánchez, Today is Tomorrow’s Yesterday","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e“These pages were never intended to be public so it’s kind of a personal exercise here. I like the idea of people seeing what’s in my brain somehow. I always have had the curiosity of seeing other artist’s notebooks and dig in their mentality in order to understand better their work. Now it’s time to share mine.” Slanted’s new \u003cem\u003eToday is Tomorrow’s Yesterday\u003c\/em\u003e by Rubén Sánchez grew from his wish “to do something with all (his) sketchbooks.” His dream finally got reality, because his project was selected by the Slanted × Kickstarter Publishing \u0026amp; Mentoring Program. The goal was reached, so today, we are very happy that the book is released by Slanted Publishers.\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cp\u003eRubén Sánchez\u003cspan\u003e \u003c\/span\u003eis a self-taught artist, born and raised in Madrid (1979), adopted by Barcelona and Dubai in the past years. He is coming from the subcultures of graffiti and skateboarding with graphic design and illustration as a background as a creative, but he has always been interested in applying his work onto different formats such as wood, resins, or ceramics.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eWith Today is Tomorrow’s Yesterday\u003c\/em\u003e the artist gives an insight into his very personal sketchbooks for the first time, diaries full of notes, experiences, drawings, printing experiments, quotations, tickets etc. Sketches of many works, which can be found in many countries around the globe in the context of art festivals, commissioned works, humanitarian projects or international exhibitions, but also as any kind of “uncommissioned” works.\u003c\/p\u003e\n\u003cp\u003e“My work is made of messages to depict through strong interactions and chain reactions. A visual balance always surrounded by a Mediterranean vibe, in a journey with no destination.”\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\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","brand":"Slanted","offers":[{"title":"Default Title","offer_id":47413476589903,"sku":"PK0114","price":16.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/todayistomorrow.jpg?v=1698678389"},{"product_id":"copy-of-seulbin-roh-to-live-as-an-asian-woman","title":"Gavin Murphy and Mark Cullen (Eds.), Artist-Run Europe Practice\/Projects\/Spaces","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003eSince first being published in 2016, this groundbreaking study has become a key text on the subject, a practical tool for those running or wishing to set up artist-run spaces, and a source of research for artists, academics and students, seminars, symposia and publications. This 2nd edition includes an updated and expanded index of artist-run spaces, with the inclusion of 50 additional spaces, and featuring spaces from Ukraine for the first time. \u003c\/p\u003e\n\u003cdiv\u003e\n\u003cp class=\"Body\"\u003e\u003cspan lang=\"EN-US\"\u003ePart how-to manual, part history, and part socio-political critique, Artist-Run Europe looks at the conditions, organisational models, and role of artist-led practice within contemporary art and society. The aim is to show how artist-run practice manifests itself, how artist-run spaces are a distinctive and central part of visual art culture, and how they present a complex, heterogeneous, and necessary set of alternatives to the art institution, museum and commercial gallery.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp class=\"Body\"\u003e\u003cspan lang=\"EN-US\"\u003eIn a self-reflexive, critically questioning process, contributions discuss and analyse areas such as: What position do artist-run spaces occupy within the field of contemporary art today? Should they stand in opposition to or in parallel to other art-world structures? How is value ascribed to these often transitory practices, and is this value recognised within the field? How are these spaces organised? Can artist-run spaces develop and be sustained without the need to institutionalise? What do artist-run spaces add to the ecology of the civil society? What can we say about future (or hoped for) trajectories?\u003c\/span\u003e \u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp class=\"Body\"\u003e\u003cspan lang=\"EN-US\"\u003eIncludes texts by Jason E. Bowman, AA Bronson, Noelle Collins, Valerie Connor, Mark Cullen, Céline Kopp, Joanna Laws, Freek Lomme, Megs Morley, Gavin Murphy, Gavin Wade, and Katherine Waugh. With case studies of spaces and projects:\u003cspan\u003e \u003c\/span\u003eTriangle France, Transmission Gallery, Pallas Projects\/Studios, Eastside Projects, Catalyst Arts, Pink Cube, Secession, Dienstgebaeude, Supermarket, 126 Artist-led Gallery, and The Artist-led Archive; and an expansive and detailed index of artist-run spaces in Europe.\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan lang=\"EN-US\"\u003e and an expanded and updated 40-page index of artist-run spaces in Europe.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp class=\"Body\"\u003e\u003cspan lang=\"EN-US\"\u003eSecond Edition researched, edited and produced Pallas Projects, Dublin, funded by The Arts Council of Ireland\u003c\/span\u003e\u003c\/p\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","brand":"Set Margins'","offers":[{"title":"Default Title","offer_id":47422657495375,"sku":"PK0080","price":22.5,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_202304511.jpg?v=1705062103"},{"product_id":"copy-of-freek-lomme-50-anniversaries-from-the-private-collection-of-freek-lomme","title":"Johanna Drucker, Diagrammatic Writing","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem\u003eDiagrammatic Writing\u003c\/em\u003e is a poetic demonstration of the capacity of format to produce meaning. The articulation of the codex, as a space of semantically generative relations, has rarely (if ever) been subject to so highly focused and detailed a study. The text and graphical presentation are fully integrated, co-dependent, and mutually self-reflexive.\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv class=\"comp-lbuwu0ut MazNVa rYiAuL\" id=\"comp-lbuwu0ut\"\u003e\n\u003cdiv data-testid=\"linkElement\" class=\"j7pOnl\"\u003e\n\u003cp class=\"font_8\"\u003eThis small book work should be of interest to writers, bibliographers, designers, conceptual artists, and anyone interested in the meta-language of diagrammatic thought in graphic form.\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","brand":"Set Margins'","offers":[{"title":"Default Title","offer_id":47422852530511,"sku":"PK0087","price":7.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_20230725.jpg?v=1695902170"},{"product_id":"orfeo-tagiuri-little-passing-thoughts","title":"Orfeo Tagiuri, Little Passing Thoughts","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003eOrfeo Tagiuri scribbles day and night on a small notebook. He tears away some of the drawings, to throw in the bin because they’re not good enough, to give away to friends — to have a laugh or to remember a moment — or to sell to a stranger who shared the exact same feeling or thought, for what Orfeo draws with a black pen are universal emotions. This pocket-sized book, compiling over 350 drawings, is meant to be carried everywhere and opened just when one needs to take a break, get inspired, and breathe.\u003c\/p\u003e\n\u003cp\u003e“Each of these drawings is fished out from the river of little passing thoughts. I don’t know where they come from but sometimes I take the time to gently scoop them up and set them down. They are a great joy, relief and meditation to make. I hope you can feel that” — Orfeo Tagiuri\u003c\/p\u003e\n\u003cp\u003eOrfeo Tagiuri (b. 1991, Brookline, MA, USA) lives and works in London. Orfeo’s practice spans from painting and drawing to performance, film, woodcarving, animation, and music. 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From issue 16 onwards, the FUKT team began organising each edition thematically: from The Sex Issue on Dirty Drawings to The Words Issue and Fukt The System Issue.  \u003cbr\u003e\u003cbr\u003eSpeaking of the current issue, Hegardt says: “In times of global threats — from the pandemic to climate change, senseless politics, and periods confined to our homes — we may long for stories more than ever. Stories that let us see the world through the eyes of others and help us to make sense of it all, allowing us to remember and to imagine, to understand the unfamiliar, the strange and unknown.” \u003cbr\u003e\u003cbr\u003eThe storyline has been interrogated in a number of ways throughout the edition, taking the reader on a journey from the mythical, to the sequential and the storyboard. For Hegardt, the thread that unites all of the featured artists is that “above all, they are people who create drawings with beautiful, surprising, funny or sad stories. Like always in our magazine, everything revolves around our beloved practice of drawing.” \u003cbr\u003e\u003cbr\u003eFUKT has won multiple awards including D\u0026amp;AD Graphite Pencil 2020, D\u0026amp;AD Wood Pencil 2019 and was awarded cover of the year at Stack Awards in 2019. It has previously been featured on It’s Nice That, magCulture and Stack Magazines.\u003cbr\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\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":"FUKT","offers":[{"title":"Default Title","offer_id":47424574685519,"sku":"PK0041","price":16.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_20231294.jpg?v=1698139423"},{"product_id":"copy-of-fukt-19-the-storylines-issue","title":"FUKT, #20 The Faces Issue","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003eFUKT Magazine, one of the world’s leading, engaging and inspiring drawing magazine returns for its 20th edition. This new anniversary release looks at the art of portraits in drawing.\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cp class=\"\"\u003eWhile creating portraits is as old as humanity, what does that mean today, especially in the age of selfies and social media? After 2 years of a global pandemic and people hidden behind masks FUKT Issue #20 explores and celebrates the human face. Featuring drawings by 34 contemporary artists, we delve into the world of portraiture and the face in contemporary art. Inside the magazine, you’ll discover a range of perspectives and topics, from face blindness, courtroom drawings and lockdown portraits to facial recognition – a selection of drawing positions that present a unique take on the face.\u003c\/p\u003e\n\u003cp class=\"\"\u003eThe cover comes in variations of 24 different printed faces, all of which have a tear-off cover revealing an empty face template on which you can draw any face you want. You can scribble, draw a portrait, simple or elaborate, anything is possible. \u003c\/p\u003e\n\u003cp class=\"\"\u003eFounded in 1999 in Norway by the artist\u003cstrong\u003e \u003c\/strong\u003e\u003cstrong\u003eBjørn Hegardt\u003c\/strong\u003e, FUKT, which translates to “moist” or “damp” in Norwegian and Swedish, the magazine is now based in Berlin and Oslo. Each issue comes with a unique cover by \u003cstrong\u003eAriane Spanier\u003c\/strong\u003e who also co-edits and designs the magazine. From issue 16 onwards, the FUKT team began organising each edition thematically: from \u003cem\u003eThe Sex Issue\u003c\/em\u003e on Dirty Drawings to \u003cem\u003eThe Words Issue\u003c\/em\u003e and \u003cem\u003eFukt The System Issue\u003c\/em\u003e. \u003c\/p\u003e\n\u003cp class=\"\"\u003eFUKT has won multiple awards including Art Director's Club Germany 2021, The ADC Annual Awards 2021 - Silver Cube for publication design, D\u0026amp;AD Graphite Pencil 2020, D\u0026amp;AD Wood Pencil 2019 and was awarded cover of the year at Stack Awards in 2019. It has previously been featured on \u003cem\u003eIt’s Nice That\u003c\/em\u003e, \u003cem\u003emagCulture, Stack Magazines\u003c\/em\u003e and more.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\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":"FUKT","offers":[{"title":"Default Title","offer_id":47424627900751,"sku":"PK0040","price":16.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_20230761.jpg?v=1695902006"},{"product_id":"fukt-21-the-unknown-issue","title":"FUKT, #21 The Unknown Issue","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003eFUKT Issue #21 returns for another issue to venture into the realms of the Unknown. Featuring drawings by 29 contemporary artists from 18 countries around the world, we explore the uncertainties that inundate our everyday lives, the mysteries that are lurking in the shadows, and the vast potential of life beyond our own universe. The unknown encompasses us, concealed in the past, present, and future - veiled behind the facades of cities and within the depths of our own minds. The question of tomorrow brings both anticipation and a hint of nervousness as we navigate this ever-changing world. In this new edition, we delve into unfamiliar territories and the queries they raise. Our goal is not to shed light on the unknown but rather to blur the lines even further between what we believe we know and what we can imagine.\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cp class=\"\"\u003eFounded in Norway by the artist Bjørn Hegardt, FUKT, which translates to “moist” or “damp” in Scandinavian languages, the magazine is now based in Berlin and Oslo. Each issue comes with a unique cover by Ariane Spanier who also co-edits and designs the magazine. From issue 16 onwards, the FUKT team began organising each edition thematically: from The Sex Issue on Dirty Drawings, The Words Issue to Fukt The System Issue and The Faces Issue.\u003c\/p\u003e\n\u003cp class=\"\"\u003eFUKT has won multiple awards including Art Director's Club Germany 2021, The ADC Annual Awards 2021 - Silver Cube for publication design, D\u0026amp;AD Graphite Pencil 2020, D\u0026amp;AD Wood Pencil 2019 and was awarded cover of the year at Stack Awards in 2019. It has previously been featured on It’s Nice That, magCulture, Stack Magazines and more.\u003c\/p\u003e\n\u003cp class=\"\"\u003eArtists:\u003c\/p\u003e\n\u003cp class=\"\"\u003eH.R.Giger, Ellen Gallagher, Amy Cutler, Rithika Merchant, Sanou Oumar, Épi Florifère, Olga Lisowska, Sissel Fredriksen, Hipkiss, Isabell Schulte, Jim Holyoak, Protey Temen, Hsuan-wei Chen, John Kenn Mortensen, Ingrid Koenig, Emma Kunz, Hanna Hennenkemper, Thomas Ravens. Zela Odessa Palmer, Daria Chernyshova, Yuichiro Ukai, Annie Pootoogook, Dede Cipon, Larissa Fassler, Julia Hasting, Andreas Seltzer, Vannessa Baird, Ionel Talpazan, Péter Gallov\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\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":"FUKT","offers":[{"title":"Default Title","offer_id":47424646250831,"sku":"PK0039","price":17.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_20230756.jpg?v=1695901959"},{"product_id":"francois-halard-gods-first","title":"François Halard, Gods First","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003eIt’s probably not by chance that for this new body of work, François Halard (b. 1961, French) chose exclusively ancient and almost entirely archeological subjects – statues, busts, and sculptural fragments. These were photographed with a Polaroid camera then re-framed, blown up, re-worked, and finally smeared in wax – and in some cases covered in words and names drawn with a brush. The photographer has fostered a passion for the Polaroid process; over the years it seems to have become his favorite medium, allowing him to experiment intimately and alchemically.\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cp class=\"h6\"\u003eExcerpt from the foreword written by opera director Vincent Huguet (b. 1976, French). 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Coco Capitán has always scribbled down her thoughts – everywhere, all the time – often on scraps of paper that have filled notebook after notebook. From her first day in London in 2010 until now, and as she travels the world on photography assignments, Coco Capitán’s writings grant an insight into her free and instinctive creative process. Playful aphorisms and short poems address an array of issues with hints of humour and irony. She combines the serious with the mundane as she shares in her first text-based book social, metaphorical or sentimental moments with her witty tone and distinctive hand.\u003c\/p\u003e\n\u003cdiv class=\"layoutArea\"\u003e\n\u003cdiv class=\"column\"\u003e\n\u003cp\u003eLondon-based artist Coco Capitán (born 1992, Spain) earned a BA in Fashion Photography at the London College of Fashion followed by an MA in Photography at the Royal College of Art. She works across a range of genres including photography, painting, mural, text, video and installation. 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The writers also attend to inclusive and representative strategies, white supremacy and structures of inequality and complicity, autobiography and lived experience, synthesising social and environmental justice, and connecting readers to new emotional and critical perspectives beyond dominant and historically established narratives. \u003cem\u003eWriter Conversations\u003c\/em\u003e sets out models for imagining ways of writing on the currency and status of the photographic image amidst radical global transformations and a medium departing in new directions.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFeaturing \u003c\/strong\u003eTaco Hidde Bakker, Daniel C. Blight, David Campany, Tina M. Campt, Taous R. Dahmani, Horacio Fernández, Max Houghton, Tanvi Mishra, Simon Njami, Christopher Pinney, Zoé Samudzi, Olga Smith, David Levi Strauss, Deborah Willis, Wu Hung, Joanna Zylinska \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEditors\u003c\/strong\u003e Duncan Wooldridge and Lucy Soutter\u003cbr\u003e\u003cstrong\u003eSeries Editor\u003c\/strong\u003e Tim Clark\u003cbr\u003e\u003cstrong\u003eCopy Editor\u003c\/strong\u003e Alex Merola\u003cbr\u003e\u003cstrong\u003eArt Direction \u0026amp; Design\u003c\/strong\u003e Sarah Boris\u003cbr\u003e\u003cstrong\u003ePrinted and bound\u003c\/strong\u003e in Great Britain\u003cbr\u003eby Clays Ltd, Elcograf S.p.A\u003c\/p\u003e\n\u003cp\u003eDuncan Wooldridge is an artist, writer and curator. He is Course Director for MA Fine Art Photography at Camberwell College of Arts, University of the Arts London, and is the author of \u003cem\u003eJohn Hilliard: Not Black and White\u003c\/em\u003e (Ridinghouse, 2014) and \u003cem\u003eTo Be Determined: Photography and the Future\u003c\/em\u003e (SPBH Editions, 2021).\u003c\/p\u003e\n\u003cp\u003eLucy Soutter is an artist, critic and art historian. She is Course Leader of MA Photography Arts at the University of Westminster, and is the author of \u003cem\u003eWhy Art Photography?\u003c\/em\u003e (Routledge, 2\u003csup\u003end\u003c\/sup\u003e ed. 2018)\u003c\/p\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\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":"1000 Words","offers":[{"title":"Default Title","offer_id":47484012527951,"sku":"PK0001","price":13.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_20230766.jpg?v=1695901909"},{"product_id":"1000-words-curator-conversations","title":"1000 Words, 10 Years 2008 - 2018","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003e2018 marks the 10th anniversary of 1000 Words, and what better way to celebrate than to publish a special print annual?\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cp\u003eDesigned by Sarah Boris, and printed at Musumeci S.p.A, Italy, the publication takes the form of a beautiful 200-page bookish magazine featuring a host of newly-commissioned content. At its core lies the high-quality reproductions of 10 portfolios from artists who, we believe, have built significant bodies of work and emerged as increasingly influential practitioners in the past decade. Those individuals include José Pedro Cortes, Laia Abril, Edmund Clark, Esther Teichmann and Zanele Muholi to name but a few.\u003c\/p\u003e\n\u003cp\u003eOther highlights include a series of highly-anticipated city guides. From New York to Milan, London to Shanghai, we focus on some of the most engaging gallery spaces showing photography today. The magazine also contains long-read profiles on curators, opinion pieces on the representation of women photographers at leading photo festivals, reflections on British developments in critical race thinking, as well as insights into a decade’s changes in photography among other features. Finally, we delve into our archives and present a selection of memorable and talked-about articles from the 1000 Words back catalogue.\u003c\/p\u003e\n\u003cp\u003eThe production of the 10 year anniversary print edition of 1000 Words has been made possible thanks to 572 backers of a Kickstarter campaign.\u003c\/p\u003e\n\u003cp\u003eSpecial thanks to Gerry Badger, Norman Clark, Frédérique Destribats, David Solo and Duncan Wooldridge for their generous support.\u003c\/p\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\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":"1000 Words","offers":[{"title":"Default Title","offer_id":47484076884303,"sku":"PK0003","price":25.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_20231533.jpg?v=1708447200"},{"product_id":"marie-france-rafael-raphaela-vogel-outside-form","title":"Marie-France Rafael, Raphaela Vogel : Outside Form","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003eIn this interview, Marie-France Rafael and the artist Raphaela Vogel probe the perennial question of form, asking: \u003cem\u003eWhat is the relationship between form and time?\u003c\/em\u003e In their conversation, Rafael and Vogel contemplate the potential of putting artistic mediums in dialogue with one another, proffering a new vision of what form can achieve.\u003c\/p\u003e\n\u003cdiv class=\"layoutArea\"\u003e\n\u003cdiv class=\"column\"\u003e\n\u003cdiv class=\"citation\"\u003eSince the 2010s, the line between public and private, online and offline have increasingly become blurred by digitalization and social media. In contemporary art, digitality has assumed a new type of presence—no longer only as a virtual sphere of sociality, but increasingly as a technological interface that structures our embodied experiences. What is presented in an \"exhibition\"? And how should we write about the new types of post-digital images we are seeing (in them)?\u003cbr\u003eIn\u003cspan\u003e \u003c\/span\u003e\u003cem\u003ePassing Images: Art in the Post-Digital Age\u003c\/em\u003e, Marie France Rafael provides an attempt to write with art, rather than just about it. Rafael aims to retrace the living spirit of art and the procedural-performative experience of art in her writing.\u003c\/div\u003e\n\u003cdiv class=\"bioAuteur\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv class=\"bioAuteur\"\u003eMarie-France Rafael (born 19984 in Munich) is a tenure-track professor in the Department of Fine Arts at the Zurich University of the Arts (ZHdK). She holds a PhD in art history; she studied art history and film studies in Berlin and Paris. From 2011 to 2015, she was a research associate at the Free University of Berlin and until 2019 at the Muthesius University Kiel, Department of Spatial Strategies\/Curatorial Spaces. She is notably the author of\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eReisen im Imaginativ: Künstlerische Situationen und Displays\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e(Travel in the Imaginary: Artistic Situations and Displays, 2017) and\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eAri Benjamin Meyers: Music on Display\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e(2016).\u003c\/div\u003e\n\u003cdiv class=\"bioAuteur\"\u003eRaphaela Vogel is a Berlin-based artist working primarily in video, installation, and sculpture. Her work has been exhibited at, among other places, Kunsthalle Basel, Haus der Kunst in Munich, the Berlinische Galerie, and the 2022 Venice Biennale.\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\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":"Floating Opera Press","offers":[{"title":"Default Title","offer_id":47497899049295,"sku":"PK0029","price":10.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_20231263.jpg?v=1698139109"},{"product_id":"copy-of-marie-france-rafael-raphaela-vogel-outside-form","title":"Marie-France Rafael, Passing Images – Art in the Post-Digital Age","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003eImage and contemporary art in the post-digital age.\u003c\/p\u003e\n\u003cdiv class=\"layoutArea\"\u003e\n\u003cdiv class=\"column\"\u003e\n\u003cdiv class=\"accroche\" itemprop=\"description\"\u003e\n\u003cdiv class=\"citation\"\u003eSince the 2010s, the line between public and private, online and offline have increasingly become blurred by digitalization and social media. In contemporary art, digitality has assumed a new type of presence—no longer only as a virtual sphere of sociality, but increasingly as a technological interface that structures our embodied experiences. What is presented in an \"exhibition\"? And how should we write about the new types of post-digital images we are seeing (in them)?\u003cbr\u003eIn\u003cspan\u003e \u003c\/span\u003e\u003cem\u003ePassing Images: Art in the Post-Digital Age\u003c\/em\u003e, Marie France Rafael provides an attempt to write with art, rather than just about it. Rafael aims to retrace the living spirit of art and the procedural-performative experience of art in her writing.\u003c\/div\u003e\n\u003cdiv class=\"note\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv class=\"bioAuteur\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv class=\"bioAuteur\"\u003eMarie-France Rafael (born 19984 in Munich) is a tenure-track professor in the Department of Fine Arts at the Zurich University of the Arts (ZHdK). She holds a PhD in art history; she studied art history and film studies in Berlin and Paris. From 2011 to 2015, she was a research associate at the Free University of Berlin and until 2019 at the Muthesius University Kiel, Department of Spatial Strategies\/Curatorial Spaces. She is notably the author of\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eReisen im Imaginativ: Künstlerische Situationen und Displays\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e(Travel in the Imaginary: Artistic Situations and Displays, 2017) and\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eAri Benjamin Meyers: Music on Display\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e(2016).\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\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":"Floating Opera Press","offers":[{"title":"Default Title","offer_id":47520477774159,"sku":"PK0030","price":15.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/PK0030_Passing_Images.jpg?v=1696085666"},{"product_id":"prunella-clough-a-small-thing-edgily","title":"Prunella Clough, a small thing edgily","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThis exhibition catalogue presents twenty colour illustrations of paintings by the British painter Prunella Clough. 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The texts include interviews with artists such as Jutta Koether, Jonathan Meese, Cerith Wyn Evans, Amelie von Wulffen, and Gelitin, as well as reviews for magazines such as Camera Austria, Springerin, and Spike. This exemplary collection not only provides an overview of the exhibition practice of contemporary art production, primarily in Austria of that period, but also describes critical reflection and an intensive examination of the various varieties, tendencies, and protagonists of these years.\u003c\/p\u003e\n\u003cdiv class=\"layoutArea\"\u003e\n\u003cdiv class=\"column\"\u003e\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\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":"Floating Opera Press","offers":[{"title":"Default Title","offer_id":47520745161039,"sku":"PK0036","price":14.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_20231304.jpg?v=1698139255"},{"product_id":"maximilian-kirmse-wasserklops","title":"Maximilian Kirmse, Wasserklops","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003eArtist’s book with twenty-one colour illustrations of German artist Maximilian Kirmse’s paintings, as well as several drawings. The book includes a prose poem by Jan Koslowski, and an essay by Fid. Fischer which situates Kirmse’s work within contemporary painting.\u003c\/p\u003e\n\u003cdiv class=\"layoutArea\"\u003e\n\u003cdiv class=\"column\"\u003e\n\u003cdiv class=\"accroche\" itemprop=\"description\"\u003e\n\u003cdiv class=\"accroche\" itemprop=\"description\"\u003e\n\u003cspan\u003eMaximilian Kirmse was born in Berlin in 1986, where he now lives and works. Kirsme studied at the Academy of Fine Arts in Leipzig and at the Düsseldorf Kunstakademie. Kirmse has exhibited his works at numerous venues, including Haverkampf Gallery, Berlin; James Fuentes OVR, New York; Deichtorhallen Hamburg; Nino Mier Gallery, Los Angeles; Kunstverein Tiergarten, Berlin; and Kunsthalle Bozen, Bolzano, among other places.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eThis catalogue is published on the occasion of Kirmse’s exhibition Emozoni (Sept. 3 – Oct. 23, 2021), at Haverkampf Gallery, Berlin.\u003c\/span\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\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":"Floating Opera Press","offers":[{"title":"Default Title","offer_id":47520784253263,"sku":"PK0037","price":12.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_20231299.jpg?v=1698139317"},{"product_id":"greer-lankton-sketchbook-september-1977","title":"Greer Lankton, Sketchbook, September 1977","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cem\u003eSketchbook, September 1977\u003c\/em\u003e is an early journal by Greer Lankton written during her time as an art student at the School of the Art Institute of Chicago. It offers key insights into the artist’s mind before her move to New York in 1978, where she would go on to have a prolific career making lifelike dolls, theatrical sets, photographs, drawings, and paintings.\u003c\/p\u003e\n\u003cp\u003eContaining drawings, behavioral diagrams, and occasionally confessional writing, the journal is a record of imagining the body and mind reconciled through transformation. In these pages, the nineteen-year-old turns an inquisitive, sociological eye toward the emotional landscape and somatic effects of her days recorded here—the time period leading up to her decision to undergo hormone treatment and gender-affirming surgery in 1979. Lankton reflects with raw vulnerability and keen self-awareness on critical questions of self-image, social perception, gender normativity, and human behavior.\u003c\/p\u003e\n\u003cp\u003eThe book also includes an afterword by Lankton’s lifelong friend, Joyce Randall Senechal.\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eSketchbook, September 1977\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eis one of the earliest of Greer Lankton’s journals, sketchbooks, and daybooks to appear in the artist’s archives housed in the Department of Film at The Museum of Modern Art. The majority of Lankton’s papers and archives are housed at the Mattress Factory, Pittsburgh.\u003c\/p\u003e\n\u003cp\u003eGreer Lankton (1958-1996) was born in Flint, Michigan. 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