{"title":"Europe","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":false}],"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-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":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_20231390.jpg?v=1698413921"},{"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. 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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-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-10","title":"Solitary Pleasure: Selected Poems, Journals and Ephemera of John Wieners","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan face=\"Sabon_Roman\"\u003e\u003cem\u003eSolitary Pleasure\u003c\/em\u003e is a new collection of poetry, journal entries, letters and ephemera by the American poet John Wieners, edited by \u003c\/span\u003eRichard Porter with an introduction by Nat Raha.\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cdiv\u003eJohn Wieners (1934-2002) was a poet, a Black Mountain College alumnus and an antiwar, gay rights \u0026amp; mental health activist. \u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003e‘John Wieners has been described as both ‘the greatest poet of emotion’ (by Robert Creeley) and ‘the poet laureate of gay liberation’ (within the Gay Liberation press). \u003cem\u003eSolitary Pleasure\u003c\/em\u003e delivers us this poet raw with mid-century queer feelings. Here, we encounter a writer preoccupied with the power and magic of poetics to profoundly render love, loss and survival in the face of destruction.’\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003e— Nat Raha, from the introduction\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003e'\u003cem\u003eSolitary Pleasure \u003c\/em\u003eis a selected collection of Wieners’ poems, appended with letters and journal entries. An introduction, written by contemporary poet Nat Raha, makes a powerful case for reading Wieners’ work as art born from “the heart of struggle”. The poems themselves are offhand and diaristic. Sometimes, they deploy childlike rhymes that purposely steer close to nonsense, successfully generating a sense of wonder (“If I had a canoe \/ I’d fill it with you \/ Then what would you do”). The Wieners of \u003cem\u003eSolitary Pleasure\u003c\/em\u003e is a poet eager to vocalise queer desire. “The beauty of men never disappears,” he writes, later portraying desire as something that must be “choked” out of him. Occupying nearly a third of \u003cem\u003eSolitary Pleasure\u003c\/em\u003e are his “Asylum Poems”, which Wieners wrote in 1969 – the summer of the Stonewall riots – while in a psychiatric institution. These poems spotlight the connection between art and affliction, but challenge us to consider creative expression as a very real mode of survival and salvation, and not merely, as current wellness discourses suggest, a potential curative or preventive to mental ill-health.'\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003e— Ralf Webb for The Guardian\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003e'Any \"selected poems\" is going to reveal the tastes of its editor, especially when those poems are selected from among an extensive body of work like the one John Wieners left us. Richard Porter's taste is exquisite, and his selection covers great ground, from the torch song poems of Wieners' early career to the rich, tessellated works of his beautiful and anguished late-sixties period. If I wanted a friend to fall in love with John Wieners, I'd give them this book.'\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e— Michael Seth Stewart, editor of \u003cem\u003eStars Seen in Person: Selected Journals of John Wieners\u003c\/em\u003e (City Lights)\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e'This book is a great love held on paper, groaning out of Black Mountain and Boston. You are hit accurately by the poet flying around you as a reincarnated bow and arrow cherub. John Wieners is a fever dream where the poems forever maintain their mystery, releasing a flood of spontaneity in the reader's imagination. Let's get in the magic with both feet; let's do it now!'\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e— CAConrad, author of \u003cem\u003eAmanda Paradise\u003c\/em\u003e and \u003cem\u003eWhile Standing in Line for Death\u003c\/em\u003e (Wave Books)\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003eCover photograph: John Wieners by Leni Sinclair \u003c\/span\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e","brand":"Pilot Press","offers":[{"title":"Default Title","offer_id":47421398778191,"sku":"PK0050","price":12.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_20231289.jpg?v=1698139530"},{"product_id":"copy-of-solitary-pleasure-selected-poems-journals-and-ephemera-of-john-wieners","title":"Kate Morgan, Ingress","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan face=\"Sabon_Roman\"\u003e\u003cem\u003eIngress\u003c\/em\u003e is an unwieldy body of writing that attends to intimacies between selves and others, objects and sites, considering how a difference of position, pronoun and voice might render these in unique ways. \u003c\/span\u003eIn doing so, Morgan's work speaks to a particular state of being in the world, of materiality, of loss, of gendered experience, of cultivation and of the act of writing itself. An experiment in form as argument, \u003cem\u003eIngress \u003c\/em\u003ewas written over the course of two years from a tenement flat with a garden in Glasgow.\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003e‘I loved this strange, accomplished book and its account of porosity and seepage on many planes. It’s tender, sexy, sly and dextrous, moving relentlessly along deep channels, emerging unexpectedly into sweet air, alert to language at every step.’\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003e— Olivia Laing, author of \u003cem\u003eEverybody: A Book About Freedom\u003c\/em\u003e \u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003e‘Kate Morgan’s \u003cem\u003eIngress\u003c\/em\u003e is a startling, many-headed meditation on language, art, and the natural world, opening you up to sensations and collapsing interior and exterior. A garden becomes a text becomes a body. The personal and the analytic mingle and slyly astonish. Morgan is one of those magicians who suspends reality through precision and excavation, digging deeper into experience, and also one of those metaphysicians who finds meaning at-hand in the daily and then disperses it all to be gathered again. This result is potent, moving, and mysterious.’\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003e— Nate Lippens, author of \u003cem\u003eMy Dead Book: A Novel \u003c\/em\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003e‘It doesn't matter what genre this book is (essay, personal diary, notebook), nor what its subject matter is (a garden, a sculpture, the plumbing system underlying a house, love), because in some mysterious way, it manages to transform the material part of the world into poetic intensity and affect whoever holds it in their hands, as if it were a flood, overwhelming and reassuring at the same time. In this sense, the omnipresent water in this truly lyrical exploration of reality seems to take over the words and transform this text into an organism with a life of its own.’\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan face=\"Sabon_Roman\"\u003e— Cecilia \u003c\/span\u003e\u003cspan face=\"Sabon_Roman\"\u003ePavòn, author of \u003cem\u003eLittle Joy: Selected Stories \u003c\/em\u003e\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan face=\"Sabon_Roman\"\u003e‘\u003cem\u003eIngress \u003c\/em\u003eis a text that enacts its own name, a shining thing seeping into the reader––which is the same \u003c\/span\u003eact as the drawing out of relation, the intimacy of attention paid at the shifting edges of things. Morgan’s writing is softly piercing, unpeeling sameness to separate out the difference of different things, but where difference is always just the slight refraction of the other. \u003cem\u003eIngress\u003c\/em\u003e is both the container and the fluid contained, the brim and its brimming–– the fact of a boundary makes possible its breach.’\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003e \u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e— Evelyn Wh-ell, author of \u003cem\u003eMemoirs of a Child Plot Hole\u003c\/em\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan face=\"Sabon_Roman\"\u003eKate Morgan is a writer and artist from London, living in Glasgow. \u003c\/span\u003eTheir writing has been published by Sticky Fingers, Nothing Personal, MAP, Worms, and in anthologies by Pilot Press.\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":"Pilot Press","offers":[{"title":"Default Title","offer_id":47421523067215,"sku":"PK0051","price":12.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_20230658.jpg?v=1695888528"},{"product_id":"copy-of-kate-morgan-ingress","title":"Jack Spicer, A Book of Music (1958)","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003eA new edition of the posthumously published collection\u003cem\u003e 'A Book of Music'\u003c\/em\u003e by the American poet Jack Spicer (1925-1965).\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003eWhile little known outside a circle of friends and poets in his lifetime, Spicer is widely considered one of the major figures of twentieth century American poetry. \u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003eAfter being removed from a teaching position at Berkeley in 1950 for refusing to pledge allegiance to the United States, he became a founder of the radical and counter-cultural San Francisco Renaissance movement of poets in an age when homosexuality was illegal. \u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan face=\"Sabon_Roman\"\u003eHe believed that the poet was a “radio” able to collect transmissions from an “invisible world,” as opposed to the idea that poetry was driven by a poet’s voice and will. In \u003c\/span\u003ethis sense he believed that his poems were dictated from a spirit world and saw poetry as a form of magic, most potent when spoken aloud. \u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan face=\"Sabon_Roman\"\u003eHe died at the age of 40 in the poverty ward of San Francisco General Hospital, from acute alcohol poisoning. \u003c\/span\u003eOne of his last coherent sentences was, “My vocabulary did this to me.”\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003eThis new edition of \u003cem\u003eA Book of Music,\u003c\/em\u003e published 65 years after its original was composed, is risograph printed on Munken Lynx paper and saddle-stitched by Earthbound Press. \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":"Pilot Press","offers":[{"title":"Default Title","offer_id":47421565862223,"sku":"PK0052","price":8.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_20231253.jpg?v=1698139757"},{"product_id":"copy-of-copy-of-jack-spicer-a-book-of-music-1958","title":"Various, Responses to Untitled (eye with comet) (c.1985) by Paul Thek","description":"\u003cmeta charset=\"utf-8\"\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\u003eFor this volume, responses were sought to the painting \u003cem\u003eUntitled (eye with comet)\u003c\/em\u003e by Paul Thek. The work was found in his storage after his death from AIDS in 1988. \u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan face=\"Sabon_Roman\"\u003eList of contributors \u003c\/span\u003e\u003cspan face=\"Sabon_Roman\"\u003ei\u003c\/span\u003en order of appearance:\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003eE.R. De Siqueira\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003eBen Estes\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003eJoão Motta Guedes\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003eLucy Swan\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003eJon Rainford\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003eLouis Shankar\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003eAmy Evans Bauer\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003eHattie Morrison\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003eSammy Paloma\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003eAN Grace\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003eJames Horton\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003eNick Wood\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003eSophie Paul\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003eJae Vail\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003eElizabeth Zvonar\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003eLars Meijer\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003eClay AD\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003eMichel Kessler\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003ePablo Miguel Martínez\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003eEmma Harris\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003eDylan McNulty-Holmes\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003eKitya Mark\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003eKatherine Franco\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003eAinslie Templeton\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003eAlistair McCartney\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003eJohn Brooks\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003eJesse Howarth\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003ejimmy cooper\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003eFelix Pilgrim\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003eNicholas Chittenden Morgan\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003eMurphy O’Neir\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003eRachel Cattle\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003eIsabel Nolan\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003eSusan Finlay\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003eTed Simonds\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003eBrooke Palmieri\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003eKate Morgan\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003eAshleigh A. Allen\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003eDiogo Gama\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003eJP Seabright\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003eHugo Hagger\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003eAmanda Kraley\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003eBrendan Cook\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003eMatt Bailey\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003eCharlotte Flint\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003eRodney Schreiner\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003eLucy Price\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003eMorgan Melhuish\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003eJordan Weitzman\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003eJaakko Pallasvuo\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003eAlex Fiorentino\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003eHarald Smart\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003eMarguerite Carson\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003eloll jung\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003eRichard Porter\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003eNicholas Kalinoski\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003eHedi El Kholti\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003eEdmund Francis English\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003eTed Bonin\u003c\/span\u003e\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","brand":"Pilot Press","offers":[{"title":"Default Title","offer_id":47421578248527,"sku":"PK0053","price":15.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_20231279.jpg?v=1698230918"},{"product_id":"copy-of-jack-spicer-a-book-of-music-1959","title":"Joshua Jones, Diametric Fist Tender","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem\u003eDiametric Fist Tender\u003c\/em\u003e is a collection of linked but distinct lyric poems exploring themes such as ghosts, gender, desire, hope, despair, time, tenderness and riots.\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e'I feel like, more successfully than I could ever hope to achieve, \u003cem\u003eDiametric Fist Tender\u003c\/em\u003e expresses and configures the contradictions between an abstract hope which is somewhere else, somebody else, in the future, and the constraint of messy embodied life.' \u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e— Laurel Uziell\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003eJoshua Jones studies and teaches literature at the University of California, Santa Cruz. They currently live in Portland. \u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003eCover artwork by Johann Lester\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":"Pilot Press","offers":[{"title":"Default Title","offer_id":47421635232079,"sku":"PK0054","price":6.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_20230641.jpg?v=1695887854"},{"product_id":"copy-of-jack-spicer-a-book-of-music-1960","title":"Aaron Fagan, Pretty Soon","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003e‘Aaron Fagan's colloquial voice--by turns mordant, enlightening, despairing, but always witty--not only describes a deeply compelling, interior emotional atmosphere, but a world we've made together, and how best to live in it. An astonishing collection.’\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003e— Hilton Als\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan face=\"Sabon_Roman\"\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003e‘Tight, heady, and beautiful: Aaron Fagan’s sonnets obey an invisible procedure that lends his lines a sculptural, haunted equilibrium. Reading these finely wrought poems, I felt like I was being massaged inside a hall of mirrors, and the masseurs, many-handed, were legendary poets of the past. Pretty Soon is wisdom literature, comfort food, night school, Socratic candy, and high-wire elegance.’\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003e \u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003e— Wayne Koestenbaum \u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003e‘What most distinguishes Aaron Fagan's poetry is its range and capacity for surprise, as well as its velocity. From careening, free-form meditations, to homage, to Algren-esque realism, sometimes a blending of all of the above, it makes for invigorating reading. A highly individual American voice.’\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003e— August Kleinzahler\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003e‘The sonnets in Pretty Soon dance in beauty like the light: compression, abstraction, impossible ideas lucidly expressed, political and personal truths lucidly slipped out as if in somebody else’s dream, woven through the even-seeming but subliminally jagged surface of the words. Reflections reflect metamorphic awareness, words slide into different words, phrases arouse recollections of other voices. All gathered in, turned to ethical account. Measured and forceful, ‘casual but final’, these poems stand by their words, and in them.’\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003e— Ian Patterson\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003eAaron Fagan was born in Rochester, New York, in 1973, and is the author of Garage (Salt, 2007), Echo Train (Salt, 2010), and A Better Place Is Hard to Find (The Song Cave, 2020).\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003eCover artwork: ‘Fieldnote 2’ (gouache and pencil on paper, 2021) by Richard Porter\u003c\/span\u003e\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","brand":"Pilot Press","offers":[{"title":"Default Title","offer_id":47421658988879,"sku":"PK0055","price":8.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_20230645.jpg?v=1695887906"},{"product_id":"copy-of-aaron-fagan-pretty-soon","title":"Misha Honcharenko, Skin of Nocturnal Apple","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003e‘Love, longing, desire, and death. Misha Honcharenko wraps these eternal subjects around a raw nerve, delivering poems so visceral, anguished, honest, and imaginatively rich, each work possesses its own atmosphere. Although these poems were written before the invasion of Ukraine, they rush into the blank spaces in our minds between front-line updates and casualty reports. Rarely is a poetry collection so hungry for life.’ \u003c\/p\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003e— Christopher Bollen\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003e‘The worlds that unfold in Misha Honcharenko's poems are at once tender and brutal, precise and capacious, exquisitely sensual even in the face of desolation. Such tonal shifts signal the book's pre-eminent quality, which is an insistence on freedom—freedom of thought, of image, of movement. This is a collection of uncommon urgency and beauty.’\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003e— Jason McBride\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003e‘There is an ecstasy in these poems, a turning toward the sublime even when they grow dark, a beautiful pulsing. Reading them, I felt like I was walking in a garden, the plants shining in the moonlight.’  \u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003e— Amina Cain\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003e‘As the days of the Russian invasion of Ukraine continue, which at the time of this writing is ongoing, Misha Honcharenko has mindfully and meaningfully arranged a span of years preceding the war that are struck like tinder: elegiac odes to lusts of everyday beauty in its transience. I feel fortunate for the witness he has been.’ \u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003e— Douglas A. Martin\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003e‘Opening the pages of Misha Honcharenko’s book is instantly satisfying. A calm sets in. My eyes dive into the words. And then he puts his finger on something in a way I can recognise like no picture can do.’  \u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003e— Wolfgang Tillmans\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003e\u003cem\u003eSkin of Nocturnal Apple\u003c\/em\u003e is the debut collection of Ukrainian artist and poet Misha Honcharenko. \u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan face=\"Sabon_Roman\"\u003eWritten in the years prior to Russia's invasion in 2022, \u003c\/span\u003e\u003cem\u003eSkin of Nocturnal Apple\u003c\/em\u003e offers a window into the life of a young queer man living and working in the future war-ravaged country. \u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003eThe collection is accompanied with an afterword by psychoanalyst and writer Nick Blackburn (\u003cem\u003eThe Reactor\u003c\/em\u003e, Faber 2022)\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003eCover artwork by the author\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":"Pilot Press","offers":[{"title":"Default Title","offer_id":47421748314447,"sku":"PK0056","price":12.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_20230638.jpg?v=1695887946"},{"product_id":"copy-of-misha-honcharenko-skin-of-nocturnal-apple","title":"Various, Consciousness Energy Grid","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003eA pocket-sized zine containing the CIA's entire '\u003cem\u003eGateway Process\u003c\/em\u003e' document, a report written in 1983, and declassified in 2003, about using a series of exercises to produce states of expanded human consciousness such as astral projection, outer body experiments, and other altered states of mind.\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","brand":"Pilot Press","offers":[{"title":"Default Title","offer_id":47421756637519,"sku":"PK0057","price":5.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_20230654.jpg?v=1695887976"},{"product_id":"copy-of-various-responses-to-untitled-eye-with-comet-c-1985-by-paul-thek","title":"Various, Responses to Love's Work (1995) by Gillian Rose","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cem\u003eResponses to Love's Work by Gillian Rose\u003c\/em\u003e is the fourth publication in a series of anthologies that seek responses to works of art made during the AIDS crisis.\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan face=\"Sabon_Roman\"\u003e \u003c\/span\u003e\u003cspan face=\"Sabon_Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003eIn this fourth iteration, responses were sought to the 1995 philosophical memoir \u003cem\u003eLove's Work\u003c\/em\u003e by Gillian Rose.\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003eContributors\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003eIn order of appearance\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003eCookie Mueller\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003eIan Patterson\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003eDodie Bellamy\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003eKatherine Franco\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003eJames McDermott\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003eLotte Crawford\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003eMoss Pepe\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003eJames Main\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003eNick Blackburn\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003eThea Petrou\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003eJosiah Moktar \u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003eRoelof Bakker\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003eChristopher Madden\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003eKashif Sharma-Patel\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003eMadeleine Pulman-Jones\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003eLucy Swan\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003eLou Collins\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003eTed Simonds\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003eMolly Gough\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003eEdward Thomasson\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003eRichard Porter\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003eAlexandra Symons Sutcliffe\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003eCecilia Pavón\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003eKate Morgan\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003eOlivia Laing\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003eAshleigh A. Allen\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003eReverend Joyce McDonald\u003c\/span\u003e\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":"Pilot Press","offers":[{"title":"Default Title","offer_id":47421785178447,"sku":"PK0060","price":15.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_20230677.jpg?v=1695888047"},{"product_id":"copy-of-various-responses-to-loves-work-1995-by-gillian-rose","title":"Various, Responses to Derek Jarman's Blue (1993)","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003eResponses to Derek Jarman's \u003cem\u003eBlue\u003c\/em\u003e is the third publication in a series of anthologies from Pilot Press seeking contemporary responses to works of art made during the AIDS crisis.\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\u003cspan face=\"Sabon_Roman\"\u003e \u003c\/span\u003e\u003cspan face=\"Sabon_Roman\"\u003eIn this third iteration, responses were sought to the 1993 film \u003cem\u003eBlue\u003c\/em\u003e by the multidisciplinary artist Derek Jarman.  \u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003eContributors\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003eIn order of appearance \u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003eRoelof Bakker\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003eJared Davis\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003eBecca Albee\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003eLinda Kemp \u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003eAshleigh A. 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One for our immuno-suppressed comrades, shit theorists, pink salt throwers, and their lovers and friends, that is, I hope, everyone.' \u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e— Isabel Waidner, author of \u003cem\u003eSterling Karat Gold\u003c\/em\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e'Clay AD’s poetry is for arseholes… \u0026amp; kneecaps, for belly buttons and sweaty crotches, for perforated ear drums and rubbish immune systems. This book is a vessel with feelings for vessels with feelings, transcribed into a trans crip language that I have been waiting for.'\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e— D Mortimer, author of \u003cem\u003eLast Night a Beef Jerk Saved My Life\u003c\/em\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e \u003c\/div\u003e\n\u003cdiv\u003eClay AD is a somatic bodyworker, artist and writer living in Glasgow.\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003eCover artwork and original drawings by Clay AD\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":"Pilot Press","offers":[{"title":"Default Title","offer_id":47421925818703,"sku":"PK0061","price":12.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_20230681.jpg?v=1695888078"},{"product_id":"copy-of-clay-ad-holy-bodies","title":"Jason Lipeles, Letters to M.","description":"\u003cmeta charset=\"utf-8\"\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'\u003cem\u003eLetters to M.\u003c\/em\u003e reveals the tender truth that all letters to lovers are written first to ourselves. Lipeles’ elegant and urgent prose brilliantly collapses the space between literary and romantic longing, luxuriating in the knowledge that there is no desire without projection. This imagistic slideshow of a book saturates us with the devouring gaze of youthful passion and maturity’s cool stare—a uniquely compelling double consciousness, and one rarely encountered. \u003cem\u003eLetters to M.\u003c\/em\u003e is a moving testament to both the eros of influence and the intellect of desire. A poignant reminder that when traversing the forest of others in search of love, we continually and unexpectedly encounter the self.' - Nicholas Muellner \u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003eIn Lipeles's \u003cem\u003eLetters to M.\u003c\/em\u003e, the narrator writes letters addressed to an ex-partner, M. The letters begin as a way to process the disintegration of the relationship and grow into a series of lyric essays, poems, and photographs, which bring his love for M. into conversation with writers' and photographers’ work he admires. The narrator slips between his feelings for M. and his love for writers and photographers such as David Wojnarowicz, Renee Gladman, Frank O'Hara and Carrie Mae Weems in order to foreground intimacy and to begin to close the gap between reader and writer, lover and critic.  \u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003eJason Lipeles is a Los-Angeles-based writer and artist. His first chapbook, \u003cem\u003eLetters to M\u003c\/em\u003e., was a finalist for the inaugural Chautauqua Janus Prize. His work has appeared in the Black Warrior Review Online, Yalobusha Review, and the first issue of The Racial Imaginary Institute. He is an alumnus of the AJU Institute for Jewish Creativity's Inquiry Fellowship and Asylum Arts' Reciprocity Artist Retreat. He graduated with a Master of Fine Arts in Image + Text from Ithaca College in 2018.\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","brand":"Pilot Press","offers":[{"title":"Default Title","offer_id":47421933322575,"sku":"PK0062","price":12.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_20230691.jpg?v=1695888114"},{"product_id":"copy-of-jason-lipeles-letters-to-m","title":"Nate Lippens, My Dead Book: A Novel","description":"\u003cmeta charset=\"utf-8\"\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\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003eShortlisted for the Republic of Consciousness Prize 2023\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003e\u003cem\u003eMy Dead Book\u003c\/em\u003e is a novel composed of nonlinear vignettes and fragments about a queer man approaching his fiftieth birthday who is haunted by insomnia and his past. In the dead of night, he remembers his friends who died in the late 1980s and 1990s, his years as a teenage throwaway and sex worker, and ruminates on working class survival, queer aging, AIDS, and whether he has outlived his place in the world.\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003e“What a blistering book—with \u003cem\u003eMy Dead Book\u003c\/em\u003e, Nate Lippens has created something truly fucking great. It's as if the storied stars of Lou Reed's 'Walk on the Wild Side' overshot Manhattan and wound up in Wisconsin, broke and blue with cold and depressed beyond belief by the thought that this nowhere is now home. It's a bitter pill, but I love bitterness, and who doesn't love pills?”\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003e— Derek McCormack, author of \u003cem\u003eCastle Faggot\u003c\/em\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003e“There’s no doubt to this book. You’d think that was a flaw but it’s been burned away. \u003cem\u003eMy Dead Book\u003c\/em\u003e is not short though it is brief. It’s loving, bittersweet, and actually courageous because it tells a story that is slightly unbearable because it’s all secret, awful hard bad secrets and funny as hell. Nate’s balancing act works because the heart of it (this novel) is true even though it’s often heartless. It’s simple. He knows what things are worth. When you need the sea or a bird they’re there like they never were before.”\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003e— Eileen Myles, author of \u003cem\u003eAfterglow\u003c\/em\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003e“This book by Nate Lippens is really moving and beautifully written. Not one superfluous sentence. It’s razor tight. The phantom limbs of what has been excised remains. But still there is so much love and sadness and all the randomness of what makes a life, and who you meet along the way. My ghosts are summoned by his ghosts.” \u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003e— Hedi El Kholti, editor at Semiotext(e)\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003e“\u003cem\u003eMy Dead Book\u003c\/em\u003e by Nate Lippens is the most electrifying thing I’ve read in a long time, a poetic, compressed novella about queer loss and addiction that reminded me of Gary Indiana and William Burroughs.”\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003e — Olivia Laing, author of \u003cem\u003eCrudo \u003c\/em\u003eand \u003cem\u003eThe Lonely City\u003c\/em\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan face=\"Sabon_Roman\"\u003eCover image by Jimmy DeSana, courtesy Jimmy DeSana Trust\u003c\/span\u003e\u003cspan face=\"Sabon_Roman\"\u003e\u003c\/span\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\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":"Pilot Press","offers":[{"title":"Default Title","offer_id":47421943808335,"sku":"PK0063","price":14.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_20230648.jpg?v=1695888145"},{"product_id":"copy-of-nate-lippens-my-dead-book-a-novel","title":"Derek McCormack, Judy Blame's Obituary: Writings on Fashion and Death","description":"\u003cmeta charset=\"utf-8\"\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\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003eDerek McCormack is the author of fashion-inflected novels that cast luminaries such as Elsa Schiaparelli and Balenciaga as characters. This collection brings together for the first time McCormack's fashion journalism. He writes about and interviews fashion figures that fascinate him, tracing the ways they inspire and inhabit his novels. The result is a sort of memoir in essays: as he writes, \"My tribute to [Judy] Blame is about him and about me—there are lots of my own tales woven in with the topics I touch on. The writing here is a sort of autobiography, a life seen through a scrim, or a life as a scrim—my moire mémoire.\"\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cem\u003e\u003cspan face=\"Sabon_Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/em\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003e\u003cem\u003eJudy Blame's Obituary\u003c\/em\u003e contains twenty years' worth of reminiscences, reviews of fashion shows and books, interviews with writers about fashion, and interviews with fashion designers about writing. He talks to Nicolas Ghesquière about perfume, and to Edmund White about which perfume he wore as a young fag in New York City. He inspects the clothes that Kathy Acker left behind when she died, and he summons the spirit of Margiela in a literary seance. He traces the history of sequins, then recounts the cursed story of Vera West, the costume designer who dressed the Bride of Frankenstein. These pieces were all previously published, some in Artforum, some in The Believer, and some in underground publications like Werewolf Express—what binds them together is a sense that though fashion victimizes us, this victimization is sometimes a sort of salvation.\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003eAbout the author\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003eDerek McCormack is a Canadian writer. His most recent novels are \u003cem\u003eThe Well-Dressed Wound \u003c\/em\u003eand \u003cem\u003eCastle Faggot\u003c\/em\u003e, both published by Semiotext(e). Of \u003cem\u003eCastle Faggot\u003c\/em\u003e, Dennis Cooper said: \"It is really just one of the best books ever, and maybe the greatest novel ever written.\"\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003ePraise for \u003cem\u003eJudy Blame's Obituary\u003c\/em\u003e:\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e‘Derek McCormack, Canada's most famous author as yet unsullied by Nobel Prize or television adaptation, hides in plain sight as a fashion journalist. Parallel to his writing incantatory, scatological fiction, he has reviewed collections and interviewed the great and good of “la mode”. His divagations are often darkly hilarious and always exquisitely tailored. The sublime and the ridiculous coexist in his prose, as they do in life. Fashion victims, ignore his insights at your peril.' — William E. Jones\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan face=\"Sabon_Roman\"\u003e'Derek McCormack is one of my first and most enduring literary heroes. He only writes about what he loves, and has the lover’s rare gift of giving every stray object a proper home. You couldn’t mistake his aesthetic for anyone else’s—even if you were standing as far away as the moon.' \u003c\/span\u003e— Sheila Heti\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan face=\"Sabon_Roman\"\u003e'I am charmed, amused and somewhat obsessed by ‘\u003cem\u003eJudy Blame's Obituary\u003c\/em\u003e’. Derek McCormack observes fashion and art and all its quirks with a sense of factual fabularity and camp mundanity. Stories captured like falling stars and written down like fan facts.’ \u003c\/span\u003e— Princess Julia\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan face=\"Sabon_Roman\"\u003e\u003c\/span\u003e\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\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":"Pilot Press","offers":[{"title":"Default Title","offer_id":47422002364751,"sku":"PK0065","price":15.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_202306661.jpg?v=1695888217"},{"product_id":"copy-of-aaron-fagan-pretty-soon-2","title":"D Mortimer, Last Night A Beef Jerk Saved My Life","description":"\u003cmeta charset=\"utf-8\"\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'Mortimer is one of the most talented writers of our generation and their debut collection proves this. Part essay, part poem, part memoir and part SOS, \u003cem\u003eLast Night a Beef Jerk Saved My Life\u003c\/em\u003e navigates its thematic scope—ranging from transness, queerness and naming to loving and losing—with sensitivity, insight, humour and bravado. Best thing I read this year.' \u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e- Isabel Waidner\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e'Last Night a Beef Jerk Saved My Life is a wonderful and thoughtful reflection on love and beauty and bodies and music and memories, and on the constellations of small things that make up modern queer life.' \u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e- Huw Lemmey\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003eD Mortimer is a writer from London focussed on trans crip narratives. Their work (essays, poetry, prose, creative-criticism) has appeared in Granta and been performed at the Institute of Contemporary Art in London (Queers Read This, The Kathy Acker Reading Group). Their short story \u003cem\u003e‘Supermarket Revelations’\u003c\/em\u003e was published in \u003cem\u003eLiberating the Canon: An Anthology of Innovative Fiction\u003c\/em\u003e (ed. Waidner, Dostoyevsky Wannabe: 2018) and a poem-essay, '\u003cem\u003eHow To Draw Hands\u003c\/em\u003e', was published by Warm Yourself by My Trash Fire in 2020. \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","brand":"Pilot Press","offers":[{"title":"Default Title","offer_id":47422011736399,"sku":"PK0068","price":12.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_20230685.jpg?v=1695888274"},{"product_id":"copy-of-d-mortimer-last-night-a-beef-jerk-saved-my-life","title":"Sam Moore, All my teachers died of AIDS","description":"\u003cmeta charset=\"utf-8\"\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'Sam Moore addresses what it feels like growing up queer and British in the 1990s when most of your teachers are either dead, and-or American. An important and evocative personal essay on archival absences and erasures, and, in Moore's own words, refusing to die of ignorance even though that's what so many wanted.' \u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e- Isabel Waidner\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003eMoving through time and across oceans, writer Sam Moore takes us on a poetic journey of self-discovery through queer history, pop culture and (auto)biography in this deeply personal encounter with queer identity a generation after the AIDS crisis. \u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003eExamining the violent political legacy of right-wing governments, the search for liberation through art and the endless quest for self-discovery, \u003cem\u003eAll My Teachers Died of AIDS\u003c\/em\u003e serves as both eulogy and rallying cry, asking us to mourn the dead while lighting a torch to help guide us through grief towards a brighter queer future. \u003cspan\u003e\u003c\/span\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","brand":"Pilot Press","offers":[{"title":"Default Title","offer_id":47422027727183,"sku":"PK0069","price":6.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_20230695.jpg?v=1695888303"},{"product_id":"copy-of-copy-of-d-mortimer-last-night-a-beef-jerk-saved-my-life","title":"Various, a queer anthology of wilderness","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003eContributions by \u003cbr\u003e\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eHarry Agius\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eNick Blackburn\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003ePatrick Carew \u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eHamish Chapman\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eSimon Costin\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eThe Estate of Jimmy DeSana\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eJames St Findlay \u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eClare Fisher\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eDaniel Givens \u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eChristopher Hartmann\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eAlex Howe\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eEleanor Jenyns \u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003ePrincess Julia\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eKaren Kenst \u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eOlivia Laing\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eZoe Leonard\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eSiobhan Liddell\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eAnt M Lobo \u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eMary Manning\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eJade Mars\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eLinden Katherine McMahon\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eRebekah Morgan \u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eJulia Morgan \u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eThe Museum of Witchcraft and Magic\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eEileen Myles\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eJoseph Noonan-Galley\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eRichard Porter\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eLux Pyre\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eGuy Rugeroni \u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003ePeter Scalpello\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eOlivia Scott-Berry\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eKelsey Sucena\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eTimothy Thornton\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eUrara Tsuchiya\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eNathan Walker\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eFrances Whorrall-Campbell\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan\u003eCover artwork by Tabboo!\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003c\/span\u003e\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","brand":"Pilot Press","offers":[{"title":"Default Title","offer_id":47422080778575,"sku":"PK0071","price":15.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_20230704.jpg?v=1695888367"},{"product_id":"copy-of-various-a-queer-anthology-of-wilderness","title":"Various, a queer anthology of healing","description":"\u003cmeta charset=\"utf-8\"\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‘Richard Porter’s Queer Anthology of Healing is a subtle, devastating mix of cuteness and embarrassment, beauty and confession, magic tricks and pain. The artworks and writings in this collection suggest that healing can be achieved through revelation, invocation, observation and disclosure. It’s a much-needed gift right now.’ \u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e— Chris Kraus (author of \u003ci\u003eI Love Dick\u003c\/i\u003e \/ \u003ci\u003eAfter Kathy Acker\u003c\/i\u003e) \u003c\/span\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eContributions by \u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan class=\"lh-1 font-size-16\"\u003eClay AD\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan class=\"lh-1 font-size-16\"\u003eHarry Agius\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan class=\"lh-1 font-size-16\"\u003eBarney Ashton-Bullock\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan class=\"lh-1 font-size-16\"\u003eDodie Bellamy\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan class=\"lh-1 font-size-16\"\u003eJack Bigglestone\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan class=\"lh-1 font-size-16\"\u003eNick Blackburn\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan class=\"lh-1 font-size-16\"\u003eHelen Cammock\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan class=\"lh-1 font-size-16\"\u003eCharity Coleman\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan class=\"lh-1 font-size-16\"\u003eSwithun Cooper\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan class=\"lh-1 font-size-16\"\u003ePaul Gabrielli\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan class=\"lh-1 font-size-16\"\u003eEvan Garza\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan class=\"lh-1 font-size-16\"\u003eErica Gillingham\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan class=\"lh-1 font-size-16\"\u003eDaniel Givens\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan class=\"lh-1 font-size-16\"\u003ePete Hammond\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan class=\"lh-1 font-size-16\"\u003eBenedict Hawkins\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan class=\"lh-1 font-size-16\"\u003eGeorgie Henley\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan class=\"lh-1 font-size-16\"\u003eLubaina Himid\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan class=\"lh-1 font-size-16\"\u003eFanny Howe\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan class=\"lh-1 font-size-16\"\u003eJasmine Johnson\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan class=\"lh-1 font-size-16\"\u003eG.B. Jones\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan class=\"lh-1 font-size-16\"\u003eKevin Killian\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan class=\"lh-1 font-size-16\"\u003eWayne Koestenbaum\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan class=\"lh-1 font-size-16\"\u003eNic Lachance\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan class=\"lh-1 font-size-16\"\u003eOlivia Laing\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan class=\"lh-1 font-size-16\"\u003eBenedict Leader\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan class=\"lh-1 font-size-16\"\u003ePaul Lee\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan class=\"lh-1 font-size-16\"\u003eMary Manning\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan class=\"lh-1 font-size-16\"\u003eBen Miller\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan class=\"lh-1 font-size-16\"\u003eD. Mortimer\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan class=\"lh-1 font-size-16\"\u003eMonique Mouton\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan class=\"lh-1 font-size-16\"\u003eAnnie Murrells\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan class=\"lh-1 font-size-16\"\u003eChuck Nanney\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan class=\"lh-1 font-size-16\"\u003eDavid Nash\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan class=\"lh-1 font-size-16\"\u003e\u003cspan\u003eIsobel \u003c\/span\u003e\u003cspan\u003eNeviazsky\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan class=\"lh-1 font-size-16\"\u003ePaul P. \u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan class=\"lh-1 font-size-16\"\u003eRichard Porter\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan class=\"lh-1 font-size-16\"\u003ePeter Scalpello\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan class=\"lh-1 font-size-16\"\u003e\u003cspan\u003eHyacinth \u003c\/span\u003e\u003cspan\u003eSchuss\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan class=\"lh-1 font-size-16\"\u003eRyan Skelton\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan class=\"lh-1 font-size-16\"\u003eVerity Spott\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan class=\"lh-1 font-size-16\"\u003eEdward Thomasson\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan class=\"lh-1 font-size-16\"\u003eTimothy Thornton\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan class=\"lh-1 font-size-16\"\u003eDeclan Wiffen\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan class=\"lh-1 font-size-16\"\u003eIan Wooldridge\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan\u003eCover artwork by Richard Porter\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003c\/span\u003e\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","brand":"Pilot Press","offers":[{"title":"Default Title","offer_id":47422115086671,"sku":"PK0070","price":15.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_20231121.jpg?v=1698231030"},{"product_id":"copy-of-various-responses-to-derek-jarmans-blue-1993","title":"Various, The Moon and The Echo: Responses to The Moon and The Melodies (1986) by Harold Budd and Cocteau Twins","description":"\u003cmeta charset=\"utf-8\"\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\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cem\u003eThe Moon and The Echo \u003c\/em\u003eis the first in a new series of anthologies from London-based publisher Pilot Press seeking contemporary responses to works of art made during the AIDS crisis.\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan class=\"font-size-14 lh-1\"\u003e\u003cspan class=\"font-size-16 lh-1\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan class=\"font-size-14 lh-1\"\u003e\u003cspan class=\"font-size-16 lh-1\"\u003eIn the first iteration, responses were sought to the 1986 collaborative studio album\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eThe Moon and The Melodies\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003eby the late composer Harold Budd (1936-2020) and the Scottish dream pop band Cocteau Twins. \u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan class=\"font-size-16 lh-1\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan class=\"font-size-16 lh-1\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cspan class=\"font-size-16 lh-1\"\u003eContributors \u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cspan class=\"font-size-16 lh-1\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cspan class=\"font-size-16 lh-1\"\u003e\u003ci\u003eIn order of appearance\u003c\/i\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cspan class=\"font-size-16 lh-1\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cspan class=\"font-size-16 lh-1\"\u003eMichelle Hannah\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cspan class=\"font-size-16 lh-1\"\u003eDavid Nash\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cspan class=\"font-size-16 lh-1\"\u003eEllen Dillon\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cspan class=\"font-size-16 lh-1\"\u003eGabriel Ross\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cspan class=\"font-size-16 lh-1\"\u003eMaria Sledmere\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cspan class=\"font-size-16 lh-1\"\u003eJack Jacques\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cspan class=\"font-size-16 lh-1\"\u003eNick Blackburn\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cspan class=\"font-size-16 lh-1\"\u003eHarry Agius\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cspan class=\"font-size-16 lh-1\"\u003eLauren de Sá Naylor\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cspan class=\"font-size-16 lh-1\"\u003eFemke Zwiep\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cspan class=\"font-size-16 lh-1\"\u003eOndo Fudd\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cspan class=\"font-size-16 lh-1\"\u003eRichard Porter\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cspan class=\"font-size-16 lh-1\"\u003eFreya Johnson Ross\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cspan class=\"font-size-16 lh-1\"\u003ePaul Lee\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cspan class=\"font-size-16 lh-1\"\u003eNina Ines Ward\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cspan class=\"font-size-16 lh-1\"\u003eJames Dearlove\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cspan class=\"font-size-16 lh-1\"\u003eJames Rance\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cspan class=\"font-size-16 lh-1\"\u003eFred Carter\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cspan class=\"font-size-16 lh-1\"\u003eJane Cope\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cspan class=\"font-size-16 lh-1\"\u003eTom Benford\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cspan class=\"font-size-16 lh-1\"\u003eMary Manning\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cspan class=\"font-size-16 lh-1\"\u003eSimon Moretti\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cspan class=\"font-size-16 lh-1\"\u003eRosa Jones\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cspan class=\"font-size-16 lh-1\"\u003eIshika Ball\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cspan class=\"font-size-16 lh-1\"\u003eOliver Ridings\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cspan class=\"font-size-16 lh-1\"\u003eNat Raha\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cspan class=\"font-size-16 lh-1\"\u003eKevin McAleese\u003c\/span\u003e\u003c\/span\u003e\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\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":"Pilot Press","offers":[{"title":"Default Title","offer_id":47422143660367,"sku":"PK0067","price":12.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_20230678.jpg?v=1695888246"},{"product_id":"viscosetrans","title":"Viscose Issue 4 TRANS","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThis special issue of \u003cem\u003eViscose\u003c\/em\u003e critically explores the numerous relationships between transness and fashion. The issue sets out to ask two ambivalent questions: what is a fashion theory of transness, and what might a trans theory of fashion be? Co-edited with scholars Alex Esculapio and Che Gossett, \u003cem\u003eViscose 04\u003c\/em\u003e productively confronts fashion studies with trans aesthetics and trans studies, and attempts to excavate the largely invisible archives of trans history that form the underside of fashion itself.\u003c\/p\u003e\n\u003cdiv class=\"layoutArea\"\u003e\n\u003cdiv class=\"column\"\u003e\n\u003cp\u003eThe issue, co-published with Leslie Lohman Museum in New York, features new contributions by a global cast of trans and queer writers, artists, and creatives, responding to the porous notion of “trans cultural production” as a genre full of potentiality. The issue features a wealth of archival and contemporary moments of trans fashion production spanning 50 years. The cover, designed by NYC-based designer and bookmaker Rissa Hochberger, celebrates histories of independent queer publishing, and doubles as a detachable poster.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\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":"Viscose","offers":[{"title":"Default Title","offer_id":47424555581775,"sku":"PK0137","price":25.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_20230817.jpg?v=1696000969"},{"product_id":"copy-of-slanted-37-ai","title":"FUKT, #19 The Storylines Issue","description":"\u003cmeta charset=\"utf-8\"\u003eFUKT Magazine, one of the world’s leading, engaging and inspiring drawing magazine returns for its 19th edition. This new release, created during the COVID-19 pandemic looks at the art of narration in drawing.\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\u003cbr\u003eInside, you can expect to see a myriad of illuminating stories unfold both through drawings and interviews. Contributions from established artists Chris Ware, Toyin Ojih Odutola and Brian Rea as well as emerging artists Maria Paz and Xiyu Tomorrow among others make up this issue. \u003cbr\u003e\u003cbr\u003eFounded in 1999 by artist Bjørn Hegardt, FUKT, which translates to “moist” or “damp” in Norwegian and Swedish, is an annual magazine for contemporary drawing based in Berlin and Oslo. Each issue comes with a unique cover by Ariane Spanier who also co-edits and designs the magazine. From issue 16 onwards, the FUKT team began organising each edition thematically: from The Sex Issue on Dirty Drawings to The Words Issue and Fukt The System Issue.  \u003cbr\u003e\u003cbr\u003eSpeaking of the current issue, Hegardt says: “In times of global threats — from the pandemic to climate change, senseless politics, and periods confined to our homes — we may long for stories more than ever. Stories that let us see the world through the eyes of others and help us to make sense of it all, allowing us to remember and to imagine, to understand the unfamiliar, the strange and unknown.” \u003cbr\u003e\u003cbr\u003eThe storyline has been interrogated in a number of ways throughout the edition, taking the reader on a journey from the mythical, to the sequential and the storyboard. For Hegardt, the thread that unites all of the featured artists is that “above all, they are people who create drawings with beautiful, surprising, funny or sad stories. Like always in our magazine, everything revolves around our beloved practice of drawing.” \u003cbr\u003e\u003cbr\u003eFUKT has won multiple awards including D\u0026amp;AD Graphite Pencil 2020, D\u0026amp;AD Wood Pencil 2019 and was awarded cover of the year at Stack Awards in 2019. It has previously been featured on It’s Nice That, magCulture and Stack Magazines.\u003cbr\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e","brand":"FUKT","offers":[{"title":"Default Title","offer_id":47424574685519,"sku":"PK0041","price":16.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_20231294.jpg?v=1698139423"},{"product_id":"copy-of-fukt-19-the-storylines-issue","title":"FUKT, #20 The Faces Issue","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003eFUKT Magazine, one of the world’s leading, engaging and inspiring drawing magazine returns for its 20th edition. This new anniversary release looks at the art of portraits in drawing.\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cp class=\"\"\u003eWhile creating portraits is as old as humanity, what does that mean today, especially in the age of selfies and social media? After 2 years of a global pandemic and people hidden behind masks FUKT Issue #20 explores and celebrates the human face. Featuring drawings by 34 contemporary artists, we delve into the world of portraiture and the face in contemporary art. Inside the magazine, you’ll discover a range of perspectives and topics, from face blindness, courtroom drawings and lockdown portraits to facial recognition – a selection of drawing positions that present a unique take on the face.\u003c\/p\u003e\n\u003cp class=\"\"\u003eThe cover comes in variations of 24 different printed faces, all of which have a tear-off cover revealing an empty face template on which you can draw any face you want. You can scribble, draw a portrait, simple or elaborate, anything is possible. \u003c\/p\u003e\n\u003cp class=\"\"\u003eFounded in 1999 in Norway by the artist\u003cstrong\u003e \u003c\/strong\u003e\u003cstrong\u003eBjørn Hegardt\u003c\/strong\u003e, FUKT, which translates to “moist” or “damp” in Norwegian and Swedish, the magazine is now based in Berlin and Oslo. Each issue comes with a unique cover by \u003cstrong\u003eAriane Spanier\u003c\/strong\u003e who also co-edits and designs the magazine. From issue 16 onwards, the FUKT team began organising each edition thematically: from \u003cem\u003eThe Sex Issue\u003c\/em\u003e on Dirty Drawings to \u003cem\u003eThe Words Issue\u003c\/em\u003e and \u003cem\u003eFukt The System Issue\u003c\/em\u003e. \u003c\/p\u003e\n\u003cp class=\"\"\u003eFUKT has won multiple awards including Art Director's Club Germany 2021, The ADC Annual Awards 2021 - Silver Cube for publication design, D\u0026amp;AD Graphite Pencil 2020, D\u0026amp;AD Wood Pencil 2019 and was awarded cover of the year at Stack Awards in 2019. It has previously been featured on \u003cem\u003eIt’s Nice That\u003c\/em\u003e, \u003cem\u003emagCulture, Stack Magazines\u003c\/em\u003e and more.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e","brand":"FUKT","offers":[{"title":"Default Title","offer_id":47424627900751,"sku":"PK0040","price":16.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_20230761.jpg?v=1695902006"},{"product_id":"fukt-21-the-unknown-issue","title":"FUKT, #21 The Unknown Issue","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003eFUKT Issue #21 returns for another issue to venture into the realms of the Unknown. Featuring drawings by 29 contemporary artists from 18 countries around the world, we explore the uncertainties that inundate our everyday lives, the mysteries that are lurking in the shadows, and the vast potential of life beyond our own universe. The unknown encompasses us, concealed in the past, present, and future - veiled behind the facades of cities and within the depths of our own minds. The question of tomorrow brings both anticipation and a hint of nervousness as we navigate this ever-changing world. In this new edition, we delve into unfamiliar territories and the queries they raise. Our goal is not to shed light on the unknown but rather to blur the lines even further between what we believe we know and what we can imagine.\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cp class=\"\"\u003eFounded in Norway by the artist Bjørn Hegardt, FUKT, which translates to “moist” or “damp” in Scandinavian languages, the magazine is now based in Berlin and Oslo. Each issue comes with a unique cover by Ariane Spanier who also co-edits and designs the magazine. From issue 16 onwards, the FUKT team began organising each edition thematically: from The Sex Issue on Dirty Drawings, The Words Issue to Fukt The System Issue and The Faces Issue.\u003c\/p\u003e\n\u003cp class=\"\"\u003eFUKT has won multiple awards including Art Director's Club Germany 2021, The ADC Annual Awards 2021 - Silver Cube for publication design, D\u0026amp;AD Graphite Pencil 2020, D\u0026amp;AD Wood Pencil 2019 and was awarded cover of the year at Stack Awards in 2019. It has previously been featured on It’s Nice That, magCulture, Stack Magazines and more.\u003c\/p\u003e\n\u003cp class=\"\"\u003eArtists:\u003c\/p\u003e\n\u003cp class=\"\"\u003eH.R.Giger, Ellen Gallagher, Amy Cutler, Rithika Merchant, Sanou Oumar, Épi Florifère, Olga Lisowska, Sissel Fredriksen, Hipkiss, Isabell Schulte, Jim Holyoak, Protey Temen, Hsuan-wei Chen, John Kenn Mortensen, Ingrid Koenig, Emma Kunz, Hanna Hennenkemper, Thomas Ravens. Zela Odessa Palmer, Daria Chernyshova, Yuichiro Ukai, Annie Pootoogook, Dede Cipon, Larissa Fassler, Julia Hasting, Andreas Seltzer, Vannessa Baird, Ionel Talpazan, Péter Gallov\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e","brand":"FUKT","offers":[{"title":"Default Title","offer_id":47424646250831,"sku":"PK0039","price":17.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_20230756.jpg?v=1695901959"},{"product_id":"max-leonard-vintage-alpine-postcards","title":"Max Leonard, Vintage Alpine Postcards","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv\u003e\n\u003cp\u003eFeaturing almost a hundred years of dispatches from the Alps, \u003cem\u003eVINTAGE ALPINE POSTCARDS\u003c\/em\u003e celebrates Europe’s great mountain range. It takes us from men in bowler hats with stout ropes nonchalantly crawling over crevasses, through the gilded age of grand hotels and sleigh rides, to the modernist concrete infrastructure of mountaintop restaurants and cable-car stations.\u003c\/p\u003e\n\u003cp class=\"\"\u003eThese postcards frame the changing way we’ve experienced landscape and leisure over more than a hundred years – from the intrepid to the banal, sublime to ridiculous and brutalist to kitsch. And postcards travel through time as well as space, and they arrive with messages from our former selves. Underlying the\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eAlpenkitsch\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003eis a serious exposé of our relationship to nature and how we have carelessly misused the beauties of the natural world.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e","brand":"Isola","offers":[{"title":"Default Title","offer_id":47424730005839,"sku":"PK0042","price":22.5,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_20231009.jpg?v=1695999819"}],"url":"https:\/\/publicknowledgebooks.com\/collections\/europe.oembed?page=50","provider":"Public Knowledge","version":"1.0","type":"link"}