{"title":"Books","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":false}],"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","title":"Trinh T. Minh-ha, The Twofold Commitment","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem\u003eThe Twofold Commitment\u003c\/em\u003e is an artist book by filmmaker, writer, and theorist, Trinh T. Minh-ha. While contextualizing the wider scope of her filmmaking practice, this publication centers on Trinh’s feature film \u003cem\u003eForgetting Vietnam (2015)\u003c\/em\u003e, which takes up one of the myths surrounding the creation of Vietnam: a fight between two dragons whose intertwined bodies fell into the South China Sea and formed Vietnam’s curving, S-shaped coastline. Commemorating the fortieth anniversary of the end of the Vietnam War, the film draws inspiration from ancient legend to stage an ongoing, contemporary conversation between land and water, creating a third space for historical and cultural re-memory.\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cp\u003eThe book features the film’s lyrical script, along with rhythmically distributed cinematic stills. Expanding on this central focus is a series of conversations between Trinh and film and sound scholars Patricia Alvarez Astacio and Benjamín Schultz-Figueroa; Erika Balsom; Lucie Kim-Chi Mercier; Domitilla Olivieri; Stefan Östersjö; Irit Rogoff; and Xiaolu Guo. These conversations date from 2016 to 2022 and are accompanied by an index of key concepts in the artist’s work.\u003c\/p\u003e\n\u003cp\u003eBorn in Vietnam, Trinh T. Minh-ha is a filmmaker, writer, and music composer. She is the author of twelve books, including, most recently, \u003cem\u003eLovecidal: Walking with the Disappeared\u003c\/em\u003e (2016) and \u003cem\u003eD-Passage: The Digital Way\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e(2013), as well as the foundational\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eWoman, Native, Other: Writing Postcoloniality and Feminism\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e(1989). Her films and large-scale multimedia installations have been presented at Documenta 11, Kassel; La Triennale at the Palais de Tokyo, Paris; and the Whitney Biennial, New York; as well as the Yerba Buena Center for the Arts, San Francisco; the Kyoto Biennale; the Musée du Quai Branly, Paris; the Okinawa Prefectural Museum; the Guangzhou Triennial; and Manifesta 13, Marseille. Her films have been exhibited as part of numerous international film festivals and honored in over sixty-five retrospectives worldwide. She is the recipient of numerous awards and grants, and is a Distinguished Professor of the Graduate School in the departments of Gender \u0026amp; Women’s Studies and Rhetoric at the University of California, Berkeley.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Primary Information","offers":[{"title":"Default Title","offer_id":47408161128783,"sku":"PK0152","price":16.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_20230094.jpg?v=1695635906"},{"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-4","title":"Steffani Jemison, A Rock, A River, A Street","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cp\u003eIn her experimental debut novella,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eA Rock, A River, A Street\u003c\/em\u003e, artist Steffani Jemison moves deftly across narrative genres and styles as she interrogates the boundedness of the self, the possibilities of plurality, and the limits of performance. Titled after Maya Angelou’s poem “On the Pulse of Morning,” the book is punctuated by gestural drawings that point to questions of repetition and difference.\u003c\/p\u003e\n\u003cp\u003eWhere does your body end and the world begin? How do you locate the limit between yourself and others?\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eA Rock, A River, A Street\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003efollows a young Black woman who lives at the hazy border between Brooklyn and Queens in the not-so-distant present. As she rides the subway, walks around her neighborhood, visits the doctor, watches movies, attends dance class, and tries to heal her body, she recalls formative experiences from her childhood and absorbs the world around her; in the process, we are brought into her conflicted relationship with language. Acutely conscious of the soft, responsive nature of her physical self, and pushed and pulled by forces she cannot control, the narrator is vulnerable, terrifyingly open. Everything and everyone leaves an impression.\u003c\/p\u003e\n\u003cp\u003eSteffani Jemison was born in Berkeley, California and raised in Cincinnati, Ohio. Her work has been the subject of solo exhibitions and special projects at JOAN, Los Angeles; Contemporary Art Center, Cincinnati; Stedelijk Museum, Amsterdam; Nottingham Contemporary; Jeu de Paume, Paris; CAPC Bordeaux; Museum of Modern Art, New York; RISD Museum, Providence; and LAXART, Los Angeles, among others. Collaborative and group presentations have taken place at the Guggenheim Museum; MoMA PS1’s 2021 Greater New York; the 2019 Whitney Biennial, New York; the Museum of Contemporary Art, Chicago; the Institute of Contemporary Art, Philadelphia; the Brooklyn Museum; the Studio Museum in Harlem; the New Museum, and elsewhere. Jemison is a 2020 Guggenheim Fellow and an Associate Professor at Rutgers University – Mason Gross School of the Arts.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Primary Information","offers":[{"title":"Default Title","offer_id":47408267034959,"sku":"PK0155","price":14.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_20230125.jpg?v=1695635449"},{"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-deforrest-brown-jr-assembling-a-black-counter-culture","title":"Various Artists, Black Phoenix: Third World Perspective on Contemporary Art and Culture","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThis publication is a compilation of all three issues of the journal \u003cem\u003eBlack Phoenix\u003c\/em\u003e published as a single volume. Edited and published by Rasheed Araeen and Mahmood Jamal between 1978 and 1979 in the United Kingdom, \u003cem\u003eBlack Phoenix\u003c\/em\u003e remains a key and radical document of transnational solidarity and cultural production in the visual arts, literature, activism, and beyond.\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cp\u003eMore than a decade after the liberation movements of the 1960s and the historic Bandung and Tricontinental Conferences, which called for social and political alignment and solidarity among the nations of Africa, Asia, and Latin America in order to dismantle Western imperialism and (neo)colonialism,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eBlack Phoenix\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eissued a rallying cry for the formation of a liberatory arts and culture movement throughout the Third World. International in scope,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eBlack Phoenix\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003epositioned diasporic and colonial histories at the center of an evolving anti-racist and anti-imperialist consciousness in late 1970s Britain and beyond—one that would yield complex and nuanced discourses of race, class, and postcolonial theory in the decade that followed.\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eBlack Phoenix\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003eproposed a horizon for Blackness that transcended racial binaries, across the Third World and the West.\u003c\/p\u003e\n\u003cp\u003eContributors include art critics, scholars, artists, poets, and writers, including Rasheed Araeen (Pakistan) and Mahmood Jamal (Pakistan), Guy Brett (United Kingdom), Kenneth Coutts-Smith (United Kingdom), Ariel Dorfman (Chile), Eduardo Galeano (Uruguay), N. Kilele (Tanzania), Babatunde Lawal (Nigeria), David Medalla (Philippines), Ayyub Malik (Pakistan), Susil Siriwardena (Sri Lanka), and Chris Wanjala (Kenya).\u003c\/p\u003e\n\u003cp\u003eRasheed Araeen is a Karachi-born, London-based artist, activist, writer, editor, and curator. Aareen founded the critical journals \u003cem\u003eBlack Phoenix\u003c\/em\u003e, \u003cem\u003eThird Text\u003c\/em\u003e,\u003cem\u003e \u003c\/em\u003eand \u003cem\u003eThird Text Asia\u003c\/em\u003e, and took on activist roles with the Black Panthers and Artists for Democracy. His work has been exhibited widely, including, most recently, at the Pulitzer Arts Foundation, Chicago; BALTIC Centre of Contemporary Art, Gateshead; MAMCO, Geneva; Van Abbemuseum, Eindhoven; Tate Britain, London; the 2017 Venice Biennale; and Documenta 14, Athens\/Kassel, among others.\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eMahmood Jamal was born in Lucknow, India, and moved to Britain from Pakistan in 1967. He published several books of poetry, including \u003c\/span\u003e\u003cem\u003eSugar Coated Pill\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e(2007), and translated the \u003c\/span\u003e\u003cem\u003eIslamic Mystical Poetry: Sufi Verse from the Early Mystics to Rumi\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e(2009) and \u003c\/span\u003e\u003cem\u003eFaiz: Fifty Poems\u003c\/em\u003e\u003cspan\u003e (2013), among other titles. In 1983, he co-formed the all-Asian Retake Film and Video Collective production company, and initiated Epicflow Films in 1989. Jamal worked as an independent producer and writer; produced several documentary series, including \u003c\/span\u003e\u003cem\u003eIslamic Conversations\u003c\/em\u003e\u003cspan\u003e; was a lead writer on Britain’s first Asian soap, \u003c\/span\u003e\u003cem\u003eFamily Pride\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e(1991–92), and wrote and produced \u003c\/span\u003e\u003cem\u003eTurning World\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e(1996) for Channel4 television. He died in London in December 2020.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Primary Information","offers":[{"title":"Default Title","offer_id":47408542220623,"sku":"PK0158","price":18.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_20230159.jpg?v=1695635032"},{"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-2","title":"Dan Graham, Theatre","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cem\u003eTheatre\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eis an artist book that documents seven early performances by Dan Graham taking place from 1969 to 1977 with notes, transcripts, or photographs for each work. Originally published in 1978, and produced here in facsimile form, the publication focuses on several key works that interrogate or undermine the psychological and social space created by, or between, individuals inside the performance venue.\u003c\/p\u003e\n\u003cp\u003eLike most of Graham’s work, they also serve as a critique of cultural norms, with many of the performances utilizing quotidian, social acts that are amplified over time. For example, in\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eLax\/Relax\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e(1969), Graham’s subversion of West Coast new ageism, the artist chants “relax” in sync with a recording of a woman saying “lax” in a meditative manner, which implicates the audience into a group breathing exercise or hypnosis over the course of 30 minutes.\u003c\/p\u003e\n\u003cp\u003eThroughout the ’70s, the artist engaged in a series of works that subverted the prescribed roles of the audience and performer by creating conditions in which each simultaneously functions as both (creating a type of feedback loop). Remarking on another work form this period, Graham once stated, “It begins with Minimal Art, but it’s about spectators observing themselves as they’re observed by other people.”* This paradigm is extended even further in\u003cspan\u003e \u003c\/span\u003e\u003cem\u003ePerformer\/Audience Sequence\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e(1975) and\u003cspan\u003e \u003c\/span\u003e\u003cem\u003ePerformer\/Audience Mirror\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e(1977), in which the artist performs by describing the audience as well as himself, creating conditions whereby the audience is performing for the artist as well as themselves.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eLike\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e(1971),\u003cspan\u003e \u003c\/span\u003e\u003cem\u003ePast Future Split Attention\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e(1972), and\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eIdentification Projection\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e(1977) are also featured in the publication.\u003c\/p\u003e\n\u003cp\u003eDan Graham is an artist based in New York. Since the 1960s, he has produced a wide range of work and writing that engages in a highly analytical discourse on the historical, social, and ideological functions of contemporary cultural systems. Architecture, popular music, video, and television are among the focuses of his investigations, which he articulates through essays, performances, installations, videotapes, and architectural\/sculptural designs.\u003c\/p\u003e\n\u003cp\u003eEdition of 2500\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Primary Information","offers":[{"title":"Default Title","offer_id":47408696918351,"sku":"PK0165","price":12.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_20230107.jpg?v=1695635740"},{"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-dan-graham-theatre","title":"Norman H. Pritchard, The Matrix Poems: 1960-1970","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cem\u003eThe Matrix\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eby Norman H. Pritchard (1939–1996)\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003egathers a selection of the Concrete and Black Arts poet’s work from 1960 to 1970. The seventy-one poems collected here might be regarded, as Charles Bernstein has written, as “sound” poems, being tethered not only to the literature of the Black Arts Movement but also to jazz culture and urban life in New York. Drawing as much from the visual arts and concrete poetry as from sound-based experimentation and music, Pritchard utilized the simple tools of spacing and typography to create syncopations, vibrations, and musical rhythms. What emerges is nothing less than a self-contained system of mimetic codes that challenge modernist modes of perception and representation. Formally innovative and anticipating what Michael Riffaterre would come to call the semiotics of “ungrammaticalities,” the book is a syntactical and visual experience in repetition, stutters, and structure. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eBorn and based in New York City, Pritchard was trained in visual arts and art history at New York University and Columbia University. As \u003c\/span\u003e\u003cspan\u003ea member of the Umbra group (1962–65)—a collective of young Black writers that included Steve Cannon, Thomas C. Dent, David Henderson, Calvin Hernton, and Lorenzo Thomas—he met with fellow members in Manhattan’s Lower East Side to read and discuss writing and politics. They channeled their sense of urgency in developing and promoting Black culture into the literary magazine \u003c\/span\u003e\u003ci\u003e\u003cspan\u003eUmbra\u003c\/span\u003e\u003c\/i\u003e\u003cspan\u003e. Following the group’s dissolution, Pritchard continued to be involved in New York’s art, music, and film worlds in the late 1960s. \u003c\/span\u003e\u003ci\u003e\u003cspan\u003eThe Matrix\u003c\/span\u003e\u003c\/i\u003e\u003cspan\u003e was published by Doubleday in 1970, marking one of only a handful of books on concrete poetry to be published by a major American publishing house. His second and final book \u003c\/span\u003e\u003ci\u003e\u003cspan\u003eEecchhooeess \u003c\/span\u003e\u003c\/i\u003e\u003cspan\u003ewas released by New York University Press in 1971. \u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIf Pritchard’s work testifies to the Black poetics of “broken witnessing,” it is also deeply philosophical and spiritual. “I feel that there’s only one reality, and that reality is God,” says Pritchard in an unpublished video from 1981. “Everything else is actual—or what I call ‘transreal.’ In other words, everything is transreal except God. Trans meaning through, across, within, into within.” In a 1969 letter to fellow Umbra member Ishmael Reed, Pritchard writes: “\u003c\/span\u003e\u003cspan\u003eTransreal is a word which visited me in the fall of 1967 while making initial probes into a book which I call Origins: A Contribution to the Monophysiticy of Form. \u003c\/span\u003e\u003cspan\u003eMy ‘definition’ is: Transrealism = O.”\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eWhile leaving it open to interpretation, “transrealism” was a vector through which Pritchard organized a host of collaborations—in March 1972, for instance, the poet hosted an event in New York called “The End of Intelligent Writing: A Transreal Awakening,” which featured artists such as Vito Acconci, W. Bliem Kern, and Richard Kostelanetz. Describing Pritchard’s work in terms of “ironic materiality,” Reed has remarked: “At the limit, Pritchard’s self-undermining poems ask us whether poetry needs words at all.” Indeed,\u003c\/span\u003e\u003cspan\u003e his is a poetics of both anti-transcendence and revelation.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eNorman Henry Pritchard was born in New York City in 1939 and studied at New York University and Columbia University. His work has been published in two collections: \u003c\/span\u003e\u003ci\u003e\u003cspan\u003eThe Matrix Poems: 1960–1970 \u003c\/span\u003e\u003c\/i\u003e\u003cspan\u003e(1970) and \u003c\/span\u003e\u003ci\u003e\u003cspan\u003eEecchhooeess \u003c\/span\u003e\u003c\/i\u003e\u003cspan\u003e(1971). His poetry was featured in the journals \u003c\/span\u003e\u003ci\u003e\u003cspan\u003eUmbra\u003c\/span\u003e\u003c\/i\u003e\u003cspan\u003e and \u003c\/span\u003e\u003ci\u003e\u003cspan\u003eThe East Village Other\u003c\/span\u003e\u003c\/i\u003e\u003cspan\u003e,\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eperformed on the jazz poetry compilation \u003c\/span\u003e\u003ci\u003e\u003cspan\u003eNew Jazz Poets\u003c\/span\u003e\u003c\/i\u003e\u003cspan\u003e (1967), and anthologized in \u003c\/span\u003e\u003ci\u003e\u003cspan\u003eThe New Black Poetry\u003c\/span\u003e\u003c\/i\u003e\u003cspan\u003e (1969) and \u003c\/span\u003e\u003ci\u003e\u003cspan\u003eIn a Time of Revolution: Poems from Our Third World\u003c\/span\u003e\u003c\/i\u003e\u003cspan\u003e (1969). Pritchard taught poetry at the New School for Social Research and was a poet-in-residence at Friends Seminary. He died in eastern Pennsylvania on February 8, 1996.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Primary Information","offers":[{"title":"Default Title","offer_id":47408771596623,"sku":"PK0167","price":15.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_20230137.jpg?v=1695635224"},{"product_id":"copy-of-steffani-jemison-a-rock-a-river-a-street-1","title":"Renée Green, Camino Road","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eUK\/EUROPE\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cp\u003eFirst published in 1994,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eCamino Road \u003c\/em\u003eis artist Renée Green’s debut novel—a short, ruminative work infused with semantic ambiguity and the dreamy poetry of the quotidian. Republished here in a facsimile edition, the book ostensibly traces its protagonist Lyn’s journeys to Mexico and her return to attend art school in 1980s New York, but what emerges is more an intertextual assemblage of the moments between drives, dreams, and consciousness. Lyn does her Spanish homework and makes note to read Anna Kavan and Cortázar; she watches Fellini; she dreams about the Mediterranean Sea. Much like Green’s multimedia installations encompassing the sonic, spatial, and visual,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eCamino Road \u003c\/em\u003eis richly layered—part intellectual genealogy, part fictional personal memory, and part cultural criticism.\u003c\/p\u003e\n\u003cp\u003eGreen has described the book as a “self-conscious homage to or parody of the ‘road novel,’ ‘bohemia,’ and artist-rebels.” “I’d been thinking about the beat generation, figures like Jack Kerouac, Burroughs, etc.—the mythic construction of the artist personality as rebel and how females, and myself in particular, entered into that,” she said. “These ‘beat’ sources seemed to form a typical American introduction to the idea of bohemia and of being an artist.”\u003c\/p\u003e\n\u003cp\u003eOriginally created as part of Green’s contribution for the group exhibition\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eCocido y crudo\/The Cooked and the Raw\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eat the Museo Nacional Centro de Arte Reina Sofía, Madrid, the text is written in both English and Spanish, and accompanied by an appendix of photographs and ephemera tracing Madrid’s La Movida, a Spanish countercultural moment from the 1980s. The book was published through Green’s production company, Free Agent Media (FAM), which since 1994 has been circulating and exhibiting media, printed matter, and time-based projects.\u003c\/p\u003e\n\u003cp\u003eA unique treatise on the circuits of exchange in gender, politics, and art,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eCamino Road \u003c\/em\u003ecan also be read as a variation on the classic\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eBildungsroman\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003egenre. “I don’t feel developed in any area,” thinks Lyn at one point. “It’s very difficult being young and incomplete.” Importantly, she also muses, “I want to be swallowed by another language.”\u003c\/p\u003e\n\u003cp\u003eRenée Green is an artist, filmmaker, and writer. Via films, essays and writings, installations, digital media, architecture, sound-related works, film series and events, her work investigates historical circuits of relation and exchange, the gaps and shifts in what survives in public and private memory, both remembered and invented. Her exhibitions, videos, and films have been seen throughout the world in museums, biennales, and festivals. Major surveys of her work have been staged at the Musée Cantonal des Beaux-Arts, Lausanne, Switzerland, and the Yerba Buena Center for the Arts, San Francisco, and her writing has been published in journals including\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eOctober\u003c\/em\u003e, \u003cem\u003eFrieze\u003c\/em\u003e,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eSpex\u003c\/em\u003e,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eSarai Reader\u003c\/em\u003e, and\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eCollapse\u003c\/em\u003e. A collection of her writings from 1981 to 2010,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eOther Planes of There: Selected Writings\u003c\/em\u003e, was published by Duke University Press in 2014. Green is also a Professor at MIT’s Program in Art, Culture, and Technology, School of Architecture and Planning.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Primary Information","offers":[{"title":"Default Title","offer_id":47408824254799,"sku":"PK0168","price":12.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_20230464.jpg?v=1695648017"},{"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. He is the author of five books.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Primary Information","offers":[{"title":"Default Title","offer_id":47409001922895,"sku":"PK0177","price":15.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_20231390.jpg?v=1698413921"},{"product_id":"copy-of-aram-saroyan-top-1","title":"Various Artists, Broken Music","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem\u003eBroken Music \u003c\/em\u003eis an essential compendium for records created by visual artists. The publication was edited by Ursula Block and Michael Glasmeier and originally published in 1989 by DAAD. \u003cem\u003eBroken Music \u003c\/em\u003efocuses on recordings, record-objects, artwork for records, and record installations made by thousands of artists between WWII and 1989.\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cp\u003eIt also includes essays by both editors as well as Theodor W. 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-constance-dejong-modern-love","title":"Rick Myers, A Bullet for Buñuel: Fragments of a Failed Bullet","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cem\u003eA Bullet for Buñuel: Fragments of a Failed Bullet\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003edocuments Rick Myers’ attempt to complete a project begun by the late filmmaker Luis Buñuel: to create a bullet possessing such a weak charge that it would simply bounce off the filmmaker’s shirt when fired at him. Consulting with the estate and sources ranging from online forums for bullet makers to a ballistics lab associated with the United States Secret Service, Myers sought to make the bullet and fire it at a shirt that had been worn by Buñuel. While trying to bring this absurdist endeavor to completion, the artist was met with a colorful cast of characters and failures at almost every turn.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eA Bullet for Buñuel\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003ehas taken many forms—a video work, a multiple, and a performative lecture—all of which are represented in this publication. Myers’ writing, research, correspondence, and photographs are also included in the book, which synthesizes years of work into a singular meditation on the poetics of failure.\u003c\/p\u003e\n\u003cp\u003eRick Myers is a Manchester-born artist and publisher living in Massachusetts. Myers works in a variety of media including video, installation, and drawing in addition to producing artists’ books and editions. He has recently had solo exhibitions at The Poetry Library at Southbank Centre and The Book Library at The Courtauld Institute of Art, London; Printed Matter, New York; and White Columns, New York.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Primary Information","offers":[{"title":"Default Title","offer_id":47409143316815,"sku":"PK0182","price":14.5,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_20231380.jpg?v=1698412698"},{"product_id":"copy-of-constance-dejong-reader-7","title":"Title TK, Title TK","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem\u003eTitle TK\u003c\/em\u003e is an eponymous collection featuring ten performance transcripts from the conceptual band, \u003cem\u003eTitle TK\u003c\/em\u003e. Band members Cory Arcangel, Howie Chen, and Alan Licht engage in unscripted conversations about music, the music industry, and popular culture, rather than perform music. Drawing inspiration from David Antin’s improvised “talk poems,” \u003cem\u003eTitle TK\u003c\/em\u003e elevates on-stage banter to an art form, creating work that exists at the intersection of performance art, improvisation, and stand-up comedy.\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cp\u003eThis volume charts the group’s development from 2010 to 2014 as they perform at a range of venues, from small clubs like Lit Lounge in New York to music festivals such as POP Montréal and museums including the Whitney Museum of American Art. With occasional help from guest performers, including music mogul Danny Goldberg and performance artist Michael Smith, \u003cem\u003eTitle TK’\u003c\/em\u003es performances offer wry, spontaneous perspectives on a myriad of cultural and musical figures and phenomena, including\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eAmerican Idol\u003c\/em\u003e, Armand Schaubroeck, B.C. Rich Warlock guitars, CanCon, Dan Flavin, the Grateful Dead’s\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eDick’s Picks\u003c\/em\u003e, Fugazi, Guns N’ Roses, Lil Wayne, Musician’s Friend, Seth Price, Don Rickles, Joan Rivers, Sacred Harp singers, the Situationist International, Trans-Siberian Orchestra, and much more.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eTitle TK\u003c\/em\u003e is a guitar trio formed in 2010 by Cory Arcangel, Howie Chen, and Alan Licht. Cory Arcangel is an artist based in New York and Stavanger, Norway. Howie Chen is a curator and co-founder of New Humans, a collaborative performance group, with Mika Tajima. Alan Licht is a composer, experimental guitarist, and writer who has performed with many bands including The Blue Humans, Love Child, Run On, and Text of Light. In 2013, \u003cem\u003eTitle TK\u003c\/em\u003e’s first LP,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eRock$\u003c\/em\u003e, was released by New Images Limited.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Primary Information","offers":[{"title":"Default Title","offer_id":47409209049423,"sku":"PK0183","price":16.5,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_20230145.jpg?v=1695635151"},{"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-constance-dejong-modern-love-3","title":"Alex Hubbard, Dan Mains, Removal Technician","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003eAlex Hubbard and Dan Mains’ \u003cem\u003eRemoval Technician\u003c\/em\u003e, a compilation of the late-nineties zine of the same name that details their afterschool job at an Oregon funeral home.\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cem\u003eRemoval Technician\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003efeatures Hubbard and Mains’ writings, drawings, and photographs along with appropriated advertisements, illustrations, and instructions from this hidden industry. While the overall effect is raw, the writing is insightful and adds levity to the difficult reality of people reduced to material remains.\u003c\/p\u003e\n\u003cp\u003eAlex Hubbard is an artist based in Los Angeles. His work has been the subject of solo shows at the Hammer Museum, Kunsthalle Berlin, The Kitchen, and St. Louis Museum of Contemporary Art. He is represented by Maccarone Gallery, Simon Lee Gallery, Eva Presenhuber, and Standard Oslo.\u003c\/p\u003e\n\u003cp\u003eDan Mains is an author and anthropologist.\u003c\/p\u003e\n\u003cp\u003eEdition 1000\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Primary Information","offers":[{"title":"Default Title","offer_id":47409450811727,"sku":"PK0187","price":10.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_20231385.jpg?v=1698413222"},{"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-constance-dejong-modern-love-4","title":"Yvonne Rainer, Work 1961-73","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003eOriginally published in 1974 by the Nova Scotia College of Art and Design, Yvonne Rainer’s \u003cem\u003eWork 1961-73 \u003c\/em\u003edocuments the artist’s landmark early works at the intersection of dance, performance, and art. The publication provides multifaceted insight into some of the artist’s most celebrated choreographic works, including \u003cem\u003eTerrain (1962), Trio A (1966), Continuous Project-Altered Daily (1970), War (1970), Street Action (1970),\u003c\/em\u003e and \u003cem\u003eThis is the story of a woman who … (1973),\u003c\/em\u003e among many others.\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cp\u003eAssembled ostensibly as a survey,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eWork 1961-73 \u003c\/em\u003efeatures a multitude of documentary forms, including scripts, excerpts from the artist’s notebooks, press reviews, correspondence, photographic documentation, literary excerpts, contextualizing texts by the artist, diagrams, film stills, floor plans, scores, and more. As such, the publication resembles an artist book that generously gives the reader access to Rainer’s modes of working, as well as the social and political context around which the work was made. The publication is also a book of writing, with the artist’s frank, witty, and sometimes humorous prose intimately leading the reader through each work.\u003c\/p\u003e\n\u003cp\u003eAs the artist states in the book’s introduction:\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eI have a longstanding infatuation with language, a not-easily assailed conviction that it, above all else, offers a key to clarity. Not that it can replace experience, but rather holds a mirror to our experience, give us distance when we need it. So here I am, in a sense, trying to ‘replace’ my performances with a book, greedily pushing language to clarify what already was clear in other terms. But, alas, gone. This has seemed one good reason to compile a book ‘out of’ the remains of my performances, letting the language fall where it may. Let it be said simply “She usually makes performances and has also made a book.”\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eWork 1961-73 \u003c\/em\u003eis an indispensable publication for anyone interested in the artist and the radical developments in dance and performance in the 1960s.\u003c\/p\u003e\n\u003cp\u003eYvonne Rainer (b. 1934) is a dancer, choreographer, writer,and filmmaker. She is a co-founding member of the Judson Dance Theater and worked primarily as a dancer and choreographer from the early 1960s through the early 1970s. Her choreographic work is widely recognized for blurring the lines between performers and non-performers, incorporating gestural and pedestrian movements, as well as classical dance steps and theatre. In 1972, Rainer began making films, producing seven experimental features, including\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eLives of Performers \u003c\/em\u003e(1972),\u003cspan\u003e \u003c\/span\u003e\u003cem\u003ePrivilege \u003c\/em\u003e(1990), and\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eMURDER and murder \u003c\/em\u003e(1996). She returned to dance in 2000, producing new works commissioned by the Baryshnikov Dance Foundation, the Performa Biennial, and The Museum of Modern Art. She is the author of several books including\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eFeelings Are Facts: A Life\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003e(2006\u003cem\u003e), A Woman Who…: Essays, Interviews, Scripts \u003c\/em\u003e(1999), and\u003cspan\u003e \u003c\/span\u003e\u003cem\u003ePoems\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003e(2012). She is the recipient of a MacArthur Fellowship, two Guggenheim Awards, The Foundation for Contemporary Art’s Merce Cunningham Award, and a USA Grant.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Primary Information","offers":[{"title":"Default Title","offer_id":47409661215055,"sku":"PK0171","price":32.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/PK0171_Yvon_Rainer_Work.jpg?v=1695639292"},{"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-alex-hubbard-removal-technician-4","title":"Tony Conrad, Writings","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003eI want art to stand strong, to display how it manipulates its audience. I want it to take up their expectations, their sense of the world, their predispositions toward the way they think or use their language, and then to use these things perversely, politically, colorfully, “expressively.”\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cp\u003e—Tony Conrad, \u003cem\u003e“Dolomite: Having No Trust in Readers”\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eWritings \u003c\/em\u003eis the first collection to widely survey this singular polymath’s prolific activity as a writer. Edited by artists Constance DeJong and Andrew Lampert, the book spans the years 1961 – 2012 and includes fifty-seven pieces: essays originally published in small press magazines, exhibition catalogs, anthologies, and album liner notes, along with other previously unpublished texts. Conrad writes about his own work, with substantial contributions on\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eThe Flicker\u003c\/em\u003e, \u003cem\u003eLoose Connection\u003c\/em\u003e, \u003cem\u003eFour Violins\u003c\/em\u003e, \u003cem\u003eArticulation of Boolean Algebra for Film Opticals\u003c\/em\u003e, \u003cem\u003eEarly Minimalism\u003c\/em\u003e, \u003cem\u003eYellow Movies\u003c\/em\u003e,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eSlapping Pythagoras\u003c\/em\u003e, and \u003cem\u003eMusic and the Mind of the World\u003c\/em\u003e, as well as that of his peers: Tony Oursler, Jack Smith, Rhys Chatham, and Henry Flynt, among others. He devotes critical essays both to grand subjects—horology, neurolinguistics, and the historical development of Western music—and more quotidian topics, such as television advertising and camouflage. He also writes on media activism, network communications, censorship, and the political and cultural implications of corporate and global media. No matter the topic or theme, Conrad always approaches his subjects with erudition, precision, and a healthy twist of humor.\u003c\/p\u003e\n\u003cp\u003eTony Conrad (1940–2016) was a multidisciplinary artist known for his groundbreaking art, music, films, and videos, although his work doesn’t fit comfortably within any of these disciplines. He eschewed categorization and actively sought to challenge the constraints of media forms, their modes of production, and the relationships of power embedded within them, \u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Primary Information","offers":[{"title":"Default Title","offer_id":47409776263503,"sku":"PK0172","price":20.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_20230112.jpg?v=1695635661"},{"product_id":"copy-of-constance-dejong-reader-9","title":"Michael Herman, Ho Ho Ho Chi Minh","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e“It is a sign of wisdom to negotiate instead of fighting” spoke Hồ Chí Minh, Vietnamese revolutionary and politician. He died in 1969 during the Vietnam War and did not live to see the withdrawal of the American invaders and the reunification of his beloved homeland. As prime minister and president until his death, he determined the destiny of his country, whose people affectionately called him Uncle Hồ. Influenced by deep Marxist-Leninist convictions, he became a worldwide symbol of the striving for self-determination. Even today, gratitude for this is omnipresent in the Vietnamese population.\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cp\u003eThe book is a collection of selected quotes from Hồ Chí Minh juxtaposed with Michael Herman’s expressive photographs of modern Vietnam\u003cstrong\u003e.\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003eEspecially today, in turbulent times of increasing wars and crises, it can be useful to take a look at the history of this special people, and in the best case to learn from it.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e","brand":"Slanted","offers":[{"title":"Default Title","offer_id":47412511605071,"sku":"PK0091","price":32.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_20230784.jpg?v=1696000307"},{"product_id":"copy-of-michael-herman-ho-ho-ho-chi-minh","title":"Erich Brechbühl et al., The Neubad Plakat","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eUK\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cp\u003eIn the Swiss province, at the foot of picturesque mountains, on a quiet lake, a biotope of avant-garde design has formed. The self-proclaimed “Poster Town” Lucerne has managed to merge the boundaries between art and design, creating a contemporary design phenomenon in the process. We are talking about the posters for the Neubad Cultural Center, which have long since found their way out of the valley and all over the world.\u003c\/p\u003e\n\u003cp\u003eThe posters, in minimalist black and white, not only set contemporary design trends, but playfully transcend the boundaries of our perceptual habits. Progressive illustration and experimental typography create subcultural codes on a highly cultural level that remain unpretentious despite their artistic daring.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThe Neubad Plakat\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eis an aesthetic phenomenon and an expression of a social change that has always been expressed in fashion, music, design—in other words, in the zeitgeist. The book as a collection of curated pieces that in itself formulated a new expression of this emerged aesthetic.\u003c\/p\u003e\n\u003cp\u003eA Contemporary Design Phenomenon\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\" data-mce-style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cspan data-mce-fragment=\"1\"\u003e563\u003c\/span\u003e pages\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e12 x 16 cm\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003eHardback\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003e2023\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003eISBN: \u003c\/span\u003e\u003cspan\u003e9783948440497\u003c\/span\u003e\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","brand":"Slanted","offers":[{"title":"Default Title","offer_id":47412580319567,"sku":"PK0092","price":32.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_20230397.jpg?v=1695300916"},{"product_id":"copy-of-erich-brechbuhl-et-al-the-neubad-plakat","title":"Lars Harmsen, Collision","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem\u003eCOLLISION\u003c\/em\u003e by Lars Harmsen is the collision of intuition and the human experience. A visual journey of photographs, design, and ideas.\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cp\u003eWith this publication, the author mercilessly settles accounts with the last 10 years of his creative work. Numerous pieces and creations, from Slanted, PosterRex and 100for10 to freelance works and other projects have been destroyed, cut up and reassembled. A maximum of carnage. With a minimum of diplomacy.\u003c\/p\u003e\n\u003cp\u003eRaban Ruddigkeit wrote about the work: “A year ago Lars bought a boat. He has actually been sailing all his life. He sails as a designer over the trends and hypes, over the egos and the shooters. In his work he connects drops to water and waves to a sea. Now and then he expresses himself in his own graphic language. Especially when, as today, the sea becomes rougher and more uncomfortable. Then Lars brings out his unwavering compass—a true sailor only proves himself in the storm.\u003c\/p\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","brand":"Slanted","offers":[{"title":"Default Title","offer_id":47412630880591,"sku":"PK0093","price":40.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_20230242.jpg?v=1695629088"},{"product_id":"copy-of-lars-harmsen-collision","title":"Julia Kahl, Lars Harmsen, Posters Can Help","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eGlobal dramas can lead us to question our own credibility and the significance of our own lives and\/or actions. Recent events in Ukraine have led us, the Slanted team, to ask what our work is really for? Can we accelerate the transition to a sustainable, fair, and just society through the power of design?\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cp\u003eWith a global call, we invited the design community to contribute with a piece of work and a donation. 434 people from all over the world participated in this project and almost 700 posters were submitted. All the proceeds have been donated to two select organizations that we appreciate for their work: ARTHELPS and MSF—Médecins Sans Frontières.\u003c\/p\u003e\n\u003cp\u003eWe believe in the problem-solving power of design. We want to work every day towards a vision of the world that is sustainable, inclusive, equitable, and safe. 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What to say? What perspectives to choose?\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\u003cp\u003e\u003cem\u003eWhat Should I Say—About Seoul\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003etakes the reader on a path less traveled: The work and daily-life of Korean designers; but not just as a spectator. The book gives a glimpse into South Korean society that is not so common after all: Some of the insights into the Seoul work experience appear grim at places, colored by the ongoing pandemic that forced people to cut down on social interactions.\u003c\/p\u003e\n\u003cp\u003eThe experiences of Korean-German designers are also included in the book, and as a result, one could see that there is really no reason to think of Germany as a country that “has it all figured out.” The modern workplace can be a very mixed bag at times and bad working conditions plague the creative industry worldwide. Speaking about these experiences allows us to feel less isolated and work towards change—so it is not all doom and gloom.\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\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\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":47412678000975,"sku":"PK0095","price":21.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_20230249.jpg?v=1695629247"},{"product_id":"copy-of-omid-frohlich-et-al-what-should-i-say-about-seoul","title":"Mara Reißberger and Tom Koch, finding Forte","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem\u003eForte\u003c\/em\u003e, this lively and friendly typeface that everyone knows, has been used, misused, and overused for over six decades now, ever since it was published by The Monotype Corporation in 1962. Well-known figures in the typographic world like Stanley Morison and Vincent Connare have stood in the limelight of this typeface’s sprightly lifelines. But the typeface’s designer, Austrian graphic artist Karl Reißberger, remained little known. Until now.\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\u003cp\u003eThis book traverses the world in search of “findings” such as Reißberger’s early posters, original designs, and advertising materials to trace the origin story of the “typeface everyone knows.” Sixty years after Forte’s first appearance, it has found new life as Toshi Omagari’s revised typeface, Forte Forward. Its release accompanies this book.\u003c\/p\u003e\n\u003cp\u003eAlso finding its way into this book on Forte are the artistic visions of thirty-one contemporary artists who have examined Forte’s formal language in dialog with its historical outlines. The interpretations of these international creatives open up new approaches to typography.\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\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\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":47412736852303,"sku":"PK0096","price":28.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_20230254.jpg?v=1695629274"},{"product_id":"copy-of-mara-reissberger-tom-koch-finding-forte","title":"Lars Harmsen and Julia Kahl, Yearbook of Type #6 2022\/23 – Movie Edition","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eYou know the scenario: You just want to find a fitting series or movie on your streaming platform—but you can’t find what you are looking for and keep doom-scrolling—until you turn off the computer.\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\u003cp\u003eThe same often happens when looking for the perfect typeface for your design. You know, the one that not only conveys the mood you are longing for, but also needs to fulfill all necessary requirements. In a mess of countless open browser tabs, bookmarks, lists, and folders, the right typeface and foundry—characterized by smallest details—is hard to find.\u003c\/p\u003e\n\u003cp\u003eThe \u003cem\u003e»Yearbook of Type«\u003c\/em\u003e is a collection of the latest published typefaces that helps you find the one—from a browse through the book, or quick look in the index that neatly sorts typefaces by class, designers, and foundries. Each font and font family is presented on a double page. On the left page, the font is applied; inspired by this year’s theme of film and drama. To the right, the typeface is described in detail; with all its features, as well as information about the designers and foundries. A complementary online microsite features all fonts with direct links to respective foundries and purchasing options.\u003c\/p\u003e\n\u003cp\u003eThe publication is rounded off by a series of essays, interviews, and tutorials on the subject of type design and contemporary typography.\u003c\/p\u003e\n\u003cp\u003eThe\u003cem\u003e Yearbook of Type\u003c\/em\u003e provides clarity in a world of constant streaming, scrolling, and aimless browsing. Find the typefaces you’re looking for—and maybe even the right movie for the evening!\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\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\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":47412758020431,"sku":"PK0097","price":42.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_20230402.jpg?v=1695300874"},{"product_id":"copy-of-lars-harmsen-and-julia-kahl-yearbook-of-type-6-2022-23-movie-edition","title":"Scott Massey, The Nest—The CalArts Poster Archive Print","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem\u003eThe Nest\u003c\/em\u003e is a book, conceived and designed by Scott Massey, about process—the process of designing, and how it changes both what we make and who we are. \u003cem\u003eThe Nest\u003c\/em\u003e is also a book about memory—how memory builds up in layers and influences our experiences, as well as the things we make. The focus of \u003cem\u003eThe Nest\u003c\/em\u003e is a series of posters created in celebration of the exhibition\u003cem\u003e Inside Out \u0026amp; Upside Down: Posters from CalArts 1970–2019.\u003c\/em\u003e \u003cem\u003eThe Nest \u003c\/em\u003edocuments Scott Massey’s use of appropriation, collage, layering and re-working to generate 200 unique and vibrant compositions that each tell a different story about creative discovery. \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\u003cp class=\"p1\"\u003e\u003ci\u003eThe Nest\u003cspan\u003e \u003c\/span\u003e\u003c\/i\u003ewas born when Massey, a CalArts alum, was commissioned by curator Michael Worthington to design and print a poster for the\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eInside Out \u0026amp; Upside Down \u003c\/i\u003eexhibition\u003ci\u003e.\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003eDue to the outbreak of COVID-19, the exhibition at the Redcat in Los Angeles, CA had been postponed. With the world still in the throes of the global pandemic, this was seen as a time to dig deeper, to reflect on what makes each of us unique and what inspires our lives. At the heart of\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eThe Nest\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003eis an interest in the way form-making can be influenced by not just the circumstances of the present moment, but just as much by history—from the Bauhaus to Swiss Modernism to the variants of Postmodernism that stemmed from CalArtsand Cranbrook.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eUsing elements that represent the history and range of the storied CalArts poster archive, this project is an exploration of aesthetic strategies brought to life by blending both digital and analog processes. Layer by layer, step by step,\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eThe Nest\u003cspan\u003e \u003c\/span\u003e\u003c\/i\u003eclosely examines each phase of designing those 200 posters. It is a celebration of process and a deep dive into the ever-evolving design values that guide one along the creative process.\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eThe Nest\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003eis full of personal narratives, conversations about process, the always difficult journey of making, and how memories can guide and inspire. Through interviews, essays, and conversations among designers,\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eThe Nest\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003elooks to illuminate what it truly takes to start something and to keep going no matter the resistance, until you find your way out.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eConversations and writing by: Denise Gonzales Crisp \u0026amp; Gail Swanlund \/ Ed Fella \u0026amp; Martin Venezky \/ Bijan Berahimi, Stefano Giustiniani \u0026amp; Laura Bernstein \/ Ethan A. Stewart \/ Juliette Bellocq \u0026amp; Louise Sandhaus \/ Ian Lynam \/ Paul Sahre, George Bates \u0026amp; Scott Massey \/ David Karwan \u0026amp; Michael Worthington\u003cspan class=\"Apple-converted-space\"\u003e \u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\/ Joseph Conway \/ Martin Venezky \u0026amp; Jon Sueda\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e“This book shows us design as dub. Using image instead of sound, where the process becomes the outcome. A set of predetermined graphic pieces that get manipulated, removed, amplified and echoed into endless variations of visual landscapes. 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A unique place of freedom and creativity that became home to some of the most important artists of the 20th century!\u003c\/p\u003e\n\u003cp\u003eIn 1992, the Partner and Creative Director at studio1500 Erik Schmitt attended the reunion of Black Mountain College in San Francisco. The school is credited with shaping some of the greatest artists in American history: Willem de Kooning, John Cage, Merce Cunningham, Buckminster Fuller, Franz Kline, and Robert Rauschenberg among them. Schmitt was invited because his two aunts and their family friend Ruth Asawa attended BMC. He took extensive notes that day and took photographs at the cocktail party after the event at Ruth Asawa’s home. Those quotes and photographs are the foundation of the book American Bauhaus.\u003c\/p\u003e\n\u003cp\u003eEach quote has a page devoted to it. The quote is presented in its entirety along with the time it was uttered. A fragment of the quote is also reproduced at a large scale bleeding off the edge of the page and traveling onto the following spread. In essence, it is an evocation of the interplay of the conversation that took place on that day. The name of the book, American Bauhaus was inspired by a quote Erik Schmitt recorded on the day of the reunion by Peter Oberlander who remembered Joseph Albers saying “Black Mountain is a minimal version of the Bauhaus … Go there.”\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cspan data-mce-fragment=\"1\"\u003e112\u003c\/span\u003e pages\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e18 x 25 cm\u003cbr\u003eHardback\u003cbr\u003eMay 2022\u003cbr\u003eISBN: 9783948440381\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","brand":"Slanted","offers":[{"title":"Default Title","offer_id":47412842463567,"sku":"PK0100","price":20.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_202302761.jpg?v=1695633004"},{"product_id":"copy-of-erik-schmitt-american-bauhaus","title":"Christina Wunderlich, Mono Moment—Monospace Type Design","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eUK\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cp class=\"p1\"\u003eMonospaced fonts are fascinating! \u003ci\u003eMono Moment\u003c\/i\u003e is aimed at type designers typographers and designers, but also at people who are dealing with type design for the first time. The publication thus becomes a reference book and source of inspiration!\u003c\/p\u003e\n\u003cp\u003eFriedrich Nietzsche was probably one of the first to feel the aesthetic appeal of monospaced typefaces. Since he started writing with a typewriter, typefaces, and punctuation have been important to him. In the meantime, we encounter monospaced typefaces regularly in everyday life: in design and in art, in coding, on tax records, or on our ID. If you take a closer look, you will encounter non-proportional typefaces more often than expected.\u003c\/p\u003e\n\u003cp\u003eMonospaced typefaces are defined by their fixed, equal width for all characters. Every character, letter, and number occupies horizontally and vertically the same space. Proportional typefaces, in turn, have harmoniously balanced spaces with variable widths between their characters. The widths are not set proportional. That is why monospaced typefaces are also named non-proportional. What exactly is the attraction of typefaces, whose letters and characters each occupy an equally large space?\u003c\/p\u003e\n\u003cp\u003eDue to the increase in typeface production over the past few decades, almost every well-developed font family also has a mono or semi-mono cut. When searching for the word “monospace” on the World Wide Web, countless entries can be found in addition to the results such as “I am looking for a beautiful monospaced font,” “Top Ten Monospace Fonts,” or “Best Monospace Fonts for Coding.” At a time when it has never been easier to design and publish typefaces, this book provides a good orientation to monospace!\u003c\/p\u003e\n\u003cp\u003eFeatured typefaces: Airport Mono, Andal  Mono, Anonymus Pro, AO Mono, Aperçu Mono, Atlas Typewriter, Base Mono, Basier Mono, Blue Mono, Calico Mono, Cindie D, Consolas, Courier, Cygnito Mono, Eureka Mono, GT Pressura Mono, IBM Plex Mono, Input Mono, Kettler, Letter Gothic, LTC Remington, Maison Mono, Monaco, Monoela, MonoLisa, Orator, Pica 10 Pitch, Pitch, Plastic, Platelet, Roboto Mono, Simon Mono Light, Sneak Mono, Source Code Pro, Space Mono, Splendid 66, Sudo, Suisse Int’l Mono, SYNO MONO, The Future Mono, TheSans Mono, Typist Code, Typist Slab, Ubuntu Mono, and Vulf Mono.\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cspan data-mce-fragment=\"1\"\u003e208\u003c\/span\u003e pages\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e15.5 x 25.5 cm\u003cbr\u003ePaperback\u003cbr\u003eFebruary 2022\u003cbr\u003eISBN: 9783948440329\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","brand":"Slanted","offers":[{"title":"Default Title","offer_id":47412878639439,"sku":"PK0102","price":16.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_202302831.jpg?v=1695633139"},{"product_id":"copy-of-christina-wunderlich-mono-moment-monospace-type-design","title":"Rafael Bernardo, Be Water My Friend—B.W.M.F.","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eInspired by an interview with Bruce Lee, where he refers to an aspect of Taoist philosophy, that water can teach us “the way,” the graphic designer, creative activist, lecturer, author, and founder of the eponymous studio for branding communication Rafael Bernardo started to wonder whether he “was water” in his creative workflow. Now, five years later, he wrote and designed a book with 224 pages, which is divided 50\/50 into the parts \u003cem\u003eRoots \u003c\/em\u003eand \u003cem\u003eWings\u003c\/em\u003e.\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cem\u003eWings\u003c\/em\u003e presents the graphic journey. Eleven of Bernardo’s favorite personal projects and collaborative works he did for example with Viva con Agua, the Forward Festival, or the porcelain factory Rosenthal. And then, there is a selection of eighty \u003cem\u003eBe Water My Friend\u003c\/em\u003e posters, created to practice and explore his visual voice. Clear compositions in black and white within a spectrum of typography, illustration, and infographics.\u003c\/p\u003e\n\u003cp\u003ePart two, \u003cem\u003eRoots,\u003c\/em\u003e outlines the theoretic foundation of Rafael Bernardo’s experience. The introduction of the \u003cem\u003eBe Water My Friend\u003c\/em\u003e methodology. An analytic system that he developed after he found out, that water behaves like creativity works.\u003c\/p\u003e\n\u003cp\u003eIt describes the progress of development as a clockwork, divided into three levels. Context in the outside, motivation in the center, and process as the connecting part in-between. It is a tool to connect the way we think with the way we feel by examining how we shape and navigate our processes, projects, and routines.\u003c\/p\u003e\n\u003cp\u003eBernardo believes that everybody experiences creativity in a different way but that its structures and functionalities work similar for all of us. The first question is always whether you know what you want, if you love doing it, and if you are good at it. The second question is whether you know how to find the little hidden mistakes, that hold you back from getting better. This book wants to inspire creative performers to see mindset and intuition as team-players and shows how to connect and tune them to each other by reflecting on time, dreams, and potentials.\u003c\/p\u003e\n\u003cp\u003eSince water runs in cycles and “nomen est omen,” the book will be printed on three different kinds of 100% recycled paper, used water-based colors, and chose a printer that compensates for its carbon-footprint. 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Cottier’s modular systems are built within expansive design spaces that facilitate the production of an almost infinite range of outputs, but what distinguishes them is the considered choices he makes subsequently, categorizing, and editing his results as competent and handsome representations of alphabetic forms. This connection between impartial geometric shapes and the alphabetic code brings to mind Paul Elliman’s contention that the boundaries between typography, typology and topography are never distinct.\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\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\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":47412959838543,"sku":"PK0104","price":37.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_20230812.jpg?v=1696000339"},{"product_id":"copy-of-nigel-cottier-letterform-variations","title":"Kevin Halpin, Please Come: Shameless \/ Limitless—Selected Posters \u0026 Texts 2008–2020","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem\u003ePlease Come: Shameless\/Limitless Selected Posters \u0026amp; Texts 2008–2020 \u003c\/em\u003eis a 536-page brick of a book. It charts the history of Shameless\/Limitless, a Berlin promoter whose trajectory has paralleled (is responsible for?) the establishment of the most recent iteration of the city’s DIY music scene.\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\u003cp\u003eThe book includes:\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e219 posters for shows, parties and events spread across 40 Berlin venues made by 130 designers, notable and newcomers alike.\u003c\/li\u003e\n\u003cli\u003e24 guest texts which celebrate and shed light on the ethos of the S\/L spirit, from buds including musicians (Alex Cameron, Molly Nilsson, Sean Nicholas Savage, infinite bisous, Jane Penny of TOPS, Farao, Sam Vance-Law +++) designers (Aisha Franz, Tabitha Swanson, Jason Harvey and Natalia Portnoy to name a few), kindred spirits and more.\u003c\/li\u003e\n\u003cli\u003eOver 100 original event promo texts.\u003c\/li\u003e\n\u003cli\u003ePosters for first or early shows from now-established artists (Alex Cameron, Better Person, Erika de Casier, Fatima al Qadiri, Ultraflex +++) to memorable nights with artists passing through town (Metronomy, Crack Cloud, Project Pablo, Pender Street Steppers, Handsome Furs, Geneva Jacuzzi, Homeshake) to recurring shows and parties with heavy hitters (Molly Nilsson, Mac DeMarco, Win Butler of Arcade Fire, Kirin J Callinan, Sean Nicholas Savage, TOPS) and, of course, much more.\u003c\/li\u003e\n\u003cli\u003eAn interview between frequent contributor Norman Palm \u0026amp; S\/L founder Kevin Halpin.\u003c\/li\u003e\n\u003c\/ul\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","brand":"Slanted","offers":[{"title":"Default Title","offer_id":47412974354767,"sku":"PK0108","price":20.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_20230407.jpg?v=1695300827"},{"product_id":"copy-of-kevin-halpin-please-come-shameless-limitless-selected-posters-texts-2008-2020","title":"Stefan Braun, Monopoli","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003eMonopoli is an Apulian city and not a board game, because this is written at the end with a “y.” Also, you will not find an avenue of castles or a bathing street in Monopoli. No, in the charming old town of Monopoli there are alleys with names like “Via Santa Maria” or “Via Guiseppe Garibaldi.” Monopoli was founded by Greeks in the classical antiquity and later over the centuries Normans, Byzantines, Staufers, Habsburgs, and Bourbons ruled here. And all of them left their traces in architecture, music, dialects and foods and beverages. But one thing had never changed and still won’t. The people of Monopoli have a very close emotional bond with their sea.\u003c\/span\u003e\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\u003cp\u003eThe Munich photographer\u003cspan\u003e \u003c\/span\u003eStefan Braun\u003cspan\u003e \u003c\/span\u003ehas been drawn to Monopoli in Puglia time and again for 25 years. With his camera he has documented the life in the narrow streets, the hustle and bustle of the fishing port and the delicacies in the cooking pots. When you look at his pictures you can feel that Stefan Braun has fallen in love with this little town and its people. The people of Monopoli trust him and let him get close to them. The pictures of Stefan Braun are not just snapshots. The pictures tell stories without words. Thus the tired, fearful faces of the fishermen tell of the difficult and often dangerous days at sea. The women proudly hold freshly baked, delicious foccacia into the camera and the old men tell each other stories from their youth while playing cards every day.\u003c\/p\u003e\n\u003cp\u003eWho wants to understand what Monopoli is, should travel to Puglia or buy this impressive book. Or even better: do both.\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\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\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":47413043331407,"sku":"PK0109","price":27.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/PK0109_Monopoli.jpg?v=1695718371"},{"product_id":"copy-of-stefan-braun-monopoli","title":"Florian Budke, Ar\/KATE Mannheim","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eUK\u003c\/strong\u003e\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\u003cp class=\"p1\"\u003eAr\/KATE Mannheim is a specific guidebook connecting architecture and skateboarding. The pocket guide contains ten different urban locations with photographs and a map where a variety of skate spots can be found. Short additional texts inform the interested viewer about both the architecture and the skate spots which also convey new perspectives on existing architecture. Thus, both skaters and those interested in architecture can use the guide equally.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe architecture influences and shapes the creativity and type of skating. It creates the backdrop and at the same time is part of the action. It is both environment and obstacle. Skateboarding itself transforms and reinterprets the built environment and its architectural elements. Skaters’ perceptions of urban structure are also different from the urban impressions that non-skaters have—because skaters are always looking for new skate spots. Thus, every architectural or street structure object is scanned for its “skateable” potential.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eSkateparks try more and more to imitate these architectural elements, but often it is nothing more than an attempt. The true character of street skating takes place in real confrontation with real architecture in real urban situations. The architecture influences the scene, the vibe, and the feeling while the skaters are there. The act of skateboarding is deeply connected to the built environment.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eMannheim, a medium-sized city in southwestern Germany, is located between Frankfurt and Stuttgart and is known for its square city layout, its Baroque castle and its buildings from the Brutalist period, such as the Collini Center and the “Neckarbebauung” (Neckar Building). On the other hand, Mannheim is also characterized by its large and networked skateboard scene. No other place shows this more than the “Mezz,” the “old Messplatz” in Neckarstadt, a district of Mannheim. It is the local spot par excellence. And it is the starting and end point for spot explorations within Mannheim.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003ci\u003eA smart pocket guide about the famous skate spots of Mannheim and the architecture behind them!\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\" data-mce-style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cspan data-mce-fragment=\"1\"\u003e144\u003c\/span\u003e pages\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e15 x 10.5 cm\u003cbr\u003ePaperback\u003cbr\u003eApril 2021\u003cbr\u003eISBN: 9783948440176\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\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\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":47413196095823,"sku":"PK0111","price":10.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/PK0111_Artkate.jpg?v=1695718716"},{"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. 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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-ruben-sanchez-today-is-tomorrow-s-yesterday","title":"Paula Riek, Questions to Europe \/ Fragen an Europa","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eWhat is Europe? And what is the European Union? \u003cem\u003eQuestions to Europe\u003c\/em\u003e by Paula Riek introduces children to Europe and the European Union in a playful way and answers fundamental questions about its structure and function. Even more difficult, current questions in the European context are posed in a child-friendly way and leave room for a dialog between parents and child when reading (aloud). A children’s book from the age of 6, available in English and German language.\u003c\/p\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e","brand":"Slanted","offers":[{"title":"Default Title","offer_id":47413507719503,"sku":"PK0113","price":11.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/questionstoeuropa.jpg?v=1698678456"},{"product_id":"copy-of-paula-riek-questions-to-europe-fragen-an-europa","title":"Markus Lange, Karl-Heinz Drescher—Berlin Typo Posters","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eKarl-Heinz Drescher (born on October 7, 1936 in Quirl; died on May 19, 2011 in Berlin) was a graphic artist working at Bertolt Brecht’s world famous theater Berliner Ensemble as a graphic designer for almost 40 years. In addition to his work at this house, Drescher also worked for other organizers, museums, galleries, and theaters, amongst others the Akademie der Künste der DDR, the Maxim-Gorki-Theater, and the Deutsche Staatsoper in Berlin. His catalog of works today comprises over 400 posters, about one third printed with letterpress.\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\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cp\u003eIn a one-year research, the designer Markus Lange contacted Drescher’s family and conducted various interviews with companions and friends to find out more about this talented designer, who studied from 1955 to 1960 in the former GDR at the same school as he did (Burg Giebichenstein, formerly Hochschule für industrielle Formgestaltung).\u003c\/p\u003e\n\u003cp\u003eFor the first time, this book summarizes most of Drescher’s (typographic) posters in one comprehensive volume and contains texts and interviews by various authors such as Dr. Friedrich Diekmann, Dr. Sylke Wunderlich, Helmut Brade, Niklaus Troxler, Gerd Fleischmann, Jamie Murphy, Erik Spiekermann, Ferdinand Ulrich, Götz Gramlich, Peter Kammerer, Vera Tenschert, Cesarina and Alessandro Drescher. “Karl-Heinz Drescher—Berlin Typo Posters, Texts, and Interviews” serves as a review of the life of an extraordinary theater graphic designer but also as an inspiration for the here and now.\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\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","brand":"Slanted","offers":[{"title":"Default Title","offer_id":47413525741903,"sku":"PK0110","price":37.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/PK0110_Berlin_Typo.jpg?v=1695718559"}],"url":"https:\/\/publicknowledgebooks.com\/collections\/books.oembed?page=64","provider":"Public Knowledge","version":"1.0","type":"link"}