Artists' Books

In (Convictions) How I am Queer Because I got Hetero-Married to my Gay Friend, de Montreuil's lengthy marriage is reflected upon in a number of hilarious, depressing, and thoughtful anecdotes. The book is not diaristic. Instead, it reads like a series of memories- the material stuff of most relationships.

"“Blood, Marrow, Oolong, Ivory” is a bow. My lips are the arrows. I pour plum wine over paper and lick the pages until I am drunk on the substance. This publication is about sleeping with grief and waking up with pleasure. This publication is an orchid door. This publication is an annihilation of ritual. This publication is an altar. This publication is about when I awoke a fish and they took off my scales by the riverbed. This publication is about my mother, about my chest, about god, about power, about vulnerability. I want you to read it and I want you to taste the ingredients when they serve me fresh, hot, on a jade slab: blood, marrow, oolong, ivory."--Printed matter.

"This artist book comprises 47 short and concise anecdotes of some events, written by me over the span of a number of years. These anecdotes describe coming face to face with situations where I become aware of my queerness. They provide an intimate look into how I position myself as a queer person, and serve to remind that one is only queer in relation to others"-- Artist's webpage (viewed Aug. 22, 2013).

"Han Meichao has been documenting his boyfriend Dorian since they met on October 6th of 2010. The personal act of picture taking reveals their relationship and becomes a political act of displaying affection and asserting the queer identity." -- publisher's description.

"Heart of a Shapeshifter: 2Spirit Love Medicine" is a collection of poems, short essays, and prose by Coyote Park. It explores transformation, non-linear transitions, ancestor worship, diaspora, T4T romance, non-monogamy, queer awakenings, and various intersections of Park's lived experiences. Woven throughout the collection are 8 Vessels, taking shape as themed chapters and representing lifetimes. Throughout these vessels, Coyote reflects on extensions of themself, their lovers, and what love medicine means to them. "Heart of a Shapeshifter" is born out of the passion of Brown leather dykes, Trans Deities, and the fierce and overflowing protection of Spirit. A collection of writing to all of those yearning to love and shapeshift freely.

Queering the Collection is the culminating publication based on the Queering the Collection program, a collaboration between GenderFail and the International Center of Photography Library. Queering the Collection is a series exhibitions, programs and events that presented a variety of curatorial perspectives on contemporary investigations of gender through archives, libraries, and collections. The publication features a forward by Paul Soulellis and texts by Nora Khan, Shuv Kotecha and Allison Parrish.

"From 2008 to 2010, the artist AA Bronson, formerly of the General Idea collective, and Toronto-based artist and academic Peter Hobbs collaborated to convene small groups of men in various locations (Banff, AL, New Orleans, LA, Winnipeg, ON, Manhattan and Fire Island, NY) in a secret group ritual titled “Invocation of the Queer Spirits.” Invoking the “queer” and marginalized histories of each site in celebrations of sexuality and memorialization, the groups performed something that Bronson has characterized as “a hybrid between group therapy, ceremonial magic, a séance, a circle jerk and a quilting bee.” Queer Spirits explores all five performances in five chapters of photographic essays, primarily by Bronson, together with a brilliant and frequently humorous reflection on queer animals, forest rangers, shamanism and park sex by Peter Hobbs. A series of drawings by Chicago artist Elijah Burgher completes the volume."--provided by publisher

"I wanted to bring together the voices of some of the incredible artists, activists, and writers that I've met over the last year and celebrate their creativity, sensitivity, and resilience. I put a call out for pieces and contacted people I knew, to ask them to respond to the concept of a queer history of art. What does it mean, in 2020, to look at art and history through an activist lens? From the perspective of people that have experienced the world as a queer person? These pieces assert a power in difference and resist the way LGBTQIA+ people have been erased and devalued." -- opening letter from the editor, page 3.

Switch presents the viewer with what initially appear to be pairs of classic studio portraits of heterosexual couples. Upon closer examination, however, each diptych is comprised of two models, not four. I dress each model as a man in one image and a woman in the adjacent one. By staging the same models twice in each pair of photographs, I don’t give any clues as to the subjects’ lived genders, therefore challenging the idea that gender is stable, consistent, or single. A parody of traditional portrait studio images of couples, the project specifically challenges the gender roles espoused by such photographs, subverting imagery of so-called normative existence. Through this project, I aim to reconstruct relationship dynamics with a queer and camp sensibility.--from artist's website

Series of zines released at the Together Apart, Queer Indigeneities Symposium in Spring 2019 at Grunt Gallery.

General Idea's last bookwork, a farewell in the format of prayerbook, bound in black linen with gold edges and a black ribbon. Written and conceived before the death of Jorge Zontal and Felix Parts, but published posthumously as a devotional text to the Spirit of Miss General Idea.

Nothing stretches or bends, there is no movement, no animation, no life in static images. But by looking at these pared-down and simple pictures in sequence, you catch glimpses that would indicate otherwise—and that indication is magical. Before your eyes, these abstract simple lines, geometric shapes, and grids come to life. Vanishing Perspective is a comic book in which the reader is light itself. Includes the essay: Abstraction, empathy and Alexis Beauclair.

"To Leon Qu, "Glass" is an experiment with materials and image making. The concept is to explore the meanings of art, stripping away ideas such as culture, politics, ideology and etc. As a result, art and the act of art making are returned to a pure white box." Publisher's description.

"Part artist's book, part exhibition catalog, this book chronicles Tauba Auerbach's multimedia syntheses of abstraction, science, graphic design and typography Tauba Auerbach studies the boundaries of perception through an art and design practice grounded in math, science and craft. Published in conjunction with the first major survey of the artist's work, this volume, designed by Auerbach in collaboration with David Reinfurt, spans 16 years of her career, highlighting her interest in concepts such as duality and its alternatives, interconnectedness, rhythm and four-dimensional geometry. Encapsulating Auerbach's longstanding consideration of symmetry, texture and logic, the title S v Z offers a framework for this volume's typeface, design and structure. Images of more than 130 paintings, drawings, sculptures and artist's books created between 2004 and 2020 are mirrored by a comprehensive selection of related reference images, illuminating her multifaceted practice as never before. Essays by Joseph Becker, Jenny Gheith and Linda Dalrymple Henderson provide further context for the work. The book contains original marble patterns created specially for the book by the artist on both the endpapers and the edges of the book block. "--artbook.com

"Perhaps make a hinge picture," begins one of the ninety-four notes in Marcel Duchamp's 1934 portfolio The Green Box. The suggestion presents a contradiction: an image, neither painting nor sculpture, that is fixed in one plane but free to move in another, swinging into space. Installed across eight galleries, one per artist, this exhibition features predominantly abstract works whose ambiguous, hybrid nature honors Duchamp's "principle of the hinge." The pieces on view--including Leslie Hewitt's photo-sculptures, Erin Shirreff's dye sublimations, and Sarah Crowner's curved paintings--translate the weighty vocabulary of European modernism into a new, multi-vocal language of contemporary abstraction"--Valentina Sarmiento Cruz, from Artforum.com.

David Batchelor’s latest series of drawings (2012–13) disrupts October’s orderly monochromatic universe with circles, triangles and rectangles of brilliant transparent color and planes of opaque black. Drawn over every page of October No. 1 (Summer 1976), his varied abstract compositions interrupt the intended ‘textual clarity’ of the journal with a carnivalesque play of form and color.
Drawing upon Batchelor’s unique visual language and the colors found in the modern city, the works in this artist project are reprinted to actual size and collected in full for the first time in this volume. - Ridinghouse

"Issue #006 of our sporadically released periodical with an editorial emphasis on alternative, experimental, and abstract comic art[.]"--publisher's website.

"While these large surface rubbings [floors, walls, and windows] look very much like abstract drawings they are actually a curious hybrid of objective mechanical copying and subjective image making... handmade rubbings were photographed, separated into digital files and then randomly reassembled before being converted to analog photo lithographic plates and printed on an offset press. ... a mechanical recording process was employed and a system of production designed to produce subjective results. In this case however, the final active element was a Heidelberg offset printing press rather than Sam."--inside front cover.

”What began as a basic exploration in typography slowly transformed into a process of reduction and improvisation. We started by type setting some of our favourite jazz album titles. Then we broke down the letterforms into shapes. We took the shapes and began composing them across spreads. The result is a musically-inspired narrative. One that ebbs and flows from page to page. The subtle tints, lines and textures weave together a story that only the reader may interpret.” - publisher’s website.

”In a constant effor to reduce and simplify communications to their most basic form, Two Letter Words explores the combination of abstracted geometric letterforms and the resulting works and marks they create.”--Publisher’s website.

Speech/Acts' brings together new and recent works by a generation of artists influenced by black experimental poetry. Recognizing language as a primary method of expressing and maintaining power, these artists use poetry as a tool to manipulate the conceptual and structural elements of language and the social contexts in which language is employed, appropriated and abstracted. Artists Jibade-Khalil Huffman, Steffani Jemison, Tony Lewis, Tiona Nekkia McClodden, Kameelah Janan Rasheed and Martine Syms all use experimental poetry in their work as a means to interrogate the power structures of language, rendering the experience of blackness more physically and affectively exact. In this volume, their work is presented alongside their poetic forerunners (seminal texts by Fred Moten and Harryette Mullen are reprinted), newly commissioned poetry by Morgan Parker and Simone White, and a new essay by curator Meg Onli.

"For this artist's book, Wade Guyton (born 1972) decided to print a large-format painting on a 1:1 scale, recomposed across 360 pages. Flipping through the pages, the reader encounters the fragments of a unique work, which might potentially be reconstructed by joining the pages together. This book constitutes a reflection on questions of reproduction, the original, the source and the act of re-formation at the heart of Guyton's practice. If it can be said that Guyton's minimalistic 'paintings,' which connect directly to the history of abstraction, conjure a restructuring of modernist art and design, Wade Guyton: WG3031 offers a mise en abyme of these procedures. This book is published in a limited edition of 700 copies."--vendor's website.

”This selection of drawings and collages is the 5th collaborative project between Alicia Nauta and Eunice Luk.”

Ourselves reproduces a series of portraits by the popular manga artist Yuichi Yokoyama.

Cuneiform; Lynn Valley #10, by Andrew Dadson, is the latest installment in the Lynn Valley series of artist-designed publications. Noted for his photography, landscape interventions, and recent series of luscious, aggressively impastoed abstract paintings, Vancouver-based artist Andrew Dadson has gained a considerable following for a practice that marries conceptualism with expressionism in unique and provocative dialogues. Dadson's Cuneiform (2013 - ongoing) is a compendium of photographs taken on the streets and back alleys of Vancouver and Los Angeles that depict the adhesive substrate of signs missing from the exterior walls of buildings.--Art Metropole

American painter Sarah Crowner (born 1974) revisits the art historical legacy of abstract painting in a language of collage and domestic craft, piecing together gorgeous geometric abstractions and vibrant color fields out of stitched-together cloth fragments of different colors...Sarah Crowner: Patterns is the second artist's book in a series that Crowner has been developing around the formal aspects of her painting practice; the first was 2012's Format. In this publication, Crowner devotes her attention to patterns from a range of sources: from those found in nature and the built environment to fashion and the plastic arts. Juxtaposed throughout this selection are images from Crowner's recent work, specifically her recent paintings, murals and tiled floors.

"No New Theories builds on Kameelah Janan Rasheed's accretive and associative installation work, bringing together xerox abstractions, poetic text fragments, and found as well as original photography to explore learning and unlearning as a spiritual, socio-political, ecological, and cognitive process. With No New Theories Rasheed freely assembles her own writing, autocorrect algorithms, and Oulipian poems (short texts generated with the help of imposed constraints) alongside visuals drawn from her personal image archive, pop culture, zoological journals, quranic verses, and other sources. The work gathers these threads with an emphasis on the processes of revision and improvisation as she considers the entropic potential of meaning in place of fixed definitions. At the heart of No New Theories is an expansive interview between Rasheed and Jessica Lynne, co-founder of the art criticism journal ARTS.BLACK. The conversation attempts to document their intellectual partnership, constructed through a layering process by which the original exchange is reworked and expanded with annotations, citations, and excerpted texts from writers Samuel R. Delany, Alexis Pauline Gumbs, Emily Dickinson, and others. Rasheed and Lynne take on questions of epistemology and pedagogy, the nature of research, knowledge-acquisition, as well as patience and fatigue. Building on the notion of the 'organic archive' -- both as a fictional organizing framework and as a score for possible experiences -- the two consider various historical, sociological, and cultural facets of Americana, proposing a multi-directional discourse around the wide permutations of Black experience. The book's title -- No New Theories -- locates Blackness as a multivalent and porous experience that cannot and should not be neatly theorized"

"It is said that Paradise exists based on the idea of separation. Paradise is here, contrasted with the idea that Dystopia is Not There. Paradise can only exist when fenced in.The borders between Utopia and Lurking Danger are both what creates Paradise, and destroy it. The boundaries blur. There is not one way of reading. The motifs in Ringers work can render themselves opaque, held between daylight, darkness, and twilight. Entre Chien Et Loup, when a distinction between the two is no longer possible, nothing becomes everything, and the familiar turns into potential danger. Based on the Life Reform Movement in Germany and Switzerland in 1900 Sylvie Ringer reinterprets landscapes and objects. The drawn image becomes a stage on which all stakeholders have equal rights: landscape, people, animals, organic structures, and fields of vision oscillate between depth and surface, figuration and abstraction, seriousness and playful humor. A nature that gets out of hand and strikes back, a departure and vanishing point, perspective, and resolution of certainties. A landscape is a state of mind, alchemy."--Artist's website.

”It's never too early to learn about abstraction — especially if celebrated illustrator Tamara Shopsin is doing the teaching. What Is This? is a wordless children’s book that will encourage imaginative thinking in readers young and old. The miniature book, made for small hands, is filled with simple line drawings, executed with characteristic charm by Shopsin. Each drawing playfully adds to and alters the same basic squiggle, which is transformed across different contexts on each successive page: first the squiggle appears as the petals of a flower; next as a bird’s nest, then a cowboy’s lasso, then a plume of smoke from a factory chimney. Each time, only a few extra lines are required to suggest the conversion. By the end of the book, faced with an innocent squiggle, the question is not “what is this?,” but rather, “what isn’t this?”"

"Ital Thai Chinese and Paint is a compilation of the first collaborative work by Zuni Halpern and Erik Steinbrecher. The booklet shows montages of photographs and paintings. All the photographed advertisings are collected in the streets. The paintings on paper are studio works. Both materials, views of fusion food and plates of abstract designs are melted. These "painted meals" can be considered as ornaments in the urban context of fast gastronomy and catering."

"Blue Icons is a hand-stitched conceptual book project by Dan Walsh. Available in two versions -- Blue Icon (Day edition) and Blue Icon (Night edition) -- the works offer a different take on a small-edition project first produced by Walsh in 2013 under his imprint Moody Studios. Across thirty-two pages, Blue Icon (Day edition) explores a minimalist conceit shaped by two progressions of form. Each sheet has been trimmed down to a different size and is composed of small 'halftone' dots that shift across the color spectrum, from greenish to violet-y blue. Turning through the book these two variances are played against each other as the reader moves toward smaller pages and deeper hues (and then back out with the sequence in reverse). When laid open at the center stitching the book's pages are nested in ascending order, radiating outward in a bright aura."

Risograph printed on orange paper. Accordion fold format.
Summary, etc.: ”Tokyo explained vis-à-vis blood shed in a fight witnessed at a Shinjuku Yoshinoya.”—http://book-let.org/ (retrieved November 13 2015)

"Exhibition catalogue. The history, form and function of the humble box. Accordion fold containing colour illustrations of exhibits, with die cuts, pop-ups, gatefolds; “The Art of Making Boxes” by Ron Glowen"--provided by publisher

"Folded accordion-style, the entwining illustrations in this book depict the constant struggle between the seven virtues and seven vices. The artists' illustrations are encased in a hardcover binding mimicking a children's book, but the graphic images inside are anything but innocent. The images have been created through a collaborative process that originally began as a game of snakes and ladders. Cecily Moon drew the virtues; Sandra Meigs drew the vices. They then took turns entwining the personified images in combat, transforming the parts into a striking look at classic moral themes."--provided by publisher

"Ruscha's photography books are antithetical to the traditional limited-edition livre d'artiste, or artist's book. Their banal subject matter and documentary style are indebted to the remarkable pictures of signs and vernacular architecture that American photographer Walker Evans made in the 1930s, but their deadpan, cool aesthetic is radically different. While each book chronicles an aspect of Los Angeles or the artist's round-trip drives between LA and Oklahoma, their use of photography as a form of map-making or topographical study signals a conceptual, rather than documentary, thrust."--from MoMA

Postcard images of southern California and the Maldives (sunset in California lines up, in February, with sunrise in the Maldives and other places) with interview with David Senior and David Horvitz on versos.
"Published by Motto Books and Chert Gallery on occasion of Art Basel 2013"--Colophon.
Cards joined at perforated edges, in accordion folds.

Handmade, photographic, accordion book encased in snow globe. To access book, remove black base and pull tab.

"TIME PEOPLE MONEY CRICKETS provides an insight into Mungo Thomson’s work produced during the past several years. The book illustrates various projects such as Thomson’s ongoing project from 2009, TIME, a series of drawings based on the evolution of the logo of Time Magazine and a series of large mirrors based on specific covers of the magazine. Another ongoing project is PEOPLE, Thomson produced a full-glossy magazine based on People Magazine that contains images of visitors looking at art in art exhibitions but with the art removed through Photoshop, these magazines are free takeaways during the exhibition. Lastly, CRICKETS is Thomson’s collaboration with composer Michael Webster and consists of a transcription of field recordings of crickets from around the world created into a musical score for a 17-person orchestra."--provided by publisher

Non-commercial artistic project designed as an inflight magazine for "Skyjack Air."

"Images in this publication were taken by Kieren Beattie ... [et al.] from which Mike Nelson has constructed and conceived the layout and sequencing of this book."--P. [2] of cover.

"The supplement interrupts Freud in mid-sentence and carries his line of thought elsewhere introducing new associative material to Freud's analysis of his own so-called Botanical Monograph Dream of March, 1898." (from printed dust-jacket notes)

"This artist book is published on the occasion of the exhibition of "Album III at Documenta 12 (06/16 - 09/23/2007)."

Includes accounts of Heliogabalus by Edward Gibbon, Herodian, Cassius Dio, and Aelius Lampridius; a contemporary text, "This Necrophilic Strategy Entails Some Risk, " a collaboration by Bruce Hainley and Jones, previously published only in expurgated form; and advertisements from a bygone era. The advertisements and the book's design in general, derive from the pages of the magazine After Dark.

"Against Intellectual Property" first appeared as part of the symposium Applications of Libertarian Legal Theory, published in the Journal of Libertarian Studies 15, no. 2 (Spring 2001)

One of a continuing series of altered facsimiles of catalogs from the Vienna Secession.
An altered facsimile of the catalog of a Christopher Wool exhibition held Sept. 14-Nov. 11, 2001 at Wiener Secession, replacing photographs taken by Wool of his own paintings with images taken from artist Josh Smith's web site. Made for Kennon's 2011 exhibition Get In at ltd los angeles.

In 1965 Edward Ruscha published some Los Angeles apartments. One of the buildings illustrated was the Capri, 118 N. Normandie. More Los Angeles Apartments follows the format of the earlier book.

"A photographic chronicling of a day in the life of Sally, a "bull-dyke", illustrated with 27 photographs."--provided by publisher

"Co-published by D. Melmoth and Steven Heller. Facsimile edition published in conjunction with show "Vintage Dan Graham : Projects for Publications, 1966 - 2009," held at Specific Object, New York, June 15 - September 18, 2009. Issue edited by D. Melmoth. Essays "Our Man in the Big Apple," by D. Melmoth; "An NYRS&P Presentation," photo by Jorrin Instant Productions; "We'll Walk Hand in Hand," by Ray Schultz; "The Great Pentagon Hunching Contest," by Ed Sanders; "The New American Hustler," by Marcia Cavell; "To Tame a Whore," by Cy J. Avery; "Strawberry Girl," photographs by Mario Jorrin; "The Penis," cartoons by Stan Mack; "Forever Ecstacy [sic]," by Tor Kung; "Bust of the Week (Six Takes From A Notebook)," by Ray Schultz; "The James Brown Concert," photographs by Bob Ferraro; "The Last Estate," by Gregory Battcock; "Advice to Hustlers," by Pat Conway. Includes variation of Dan Graham's piece: "Detumescence."" -- publisher's website.

Artist book, softcover, unpaginated pages, accordion bound with silver band, offset printed, b/w.
An accordion foldout book based on Ed Ruscha's famous "Every Building on the Sunset Strip". However, the photos inside are of structures built of multiple copies of another famous artist's book, "Psychobuildings" by Martin Kippenburger--Art Metropole website.

"The eighth volume in the ongoing CSP series edited by Hirsch and Miessen, The Proposal focuses on American artist Jill Magid's The Barragan Archives. Magid's multiyear project examining the career of Pritzker Prize winning architect Luis Barragan (1902-1988) questions the forms of power, public access and copyright used to construct artistic legacy. After his death, Barragan's archive was split in two. His personal archive went to his home in Mexico, now a UNESCO World Heritage Site, while his professional archive was purchased in 1995 by Vitra chairman Rolf Fehlbaum and housed at the corporation s headquarters, where it became inaccessible to the public. As Magid attempts to bring together Barragan's professional and personal archives and probes the architect s official and private selves, she engages the intersections of the psychological and the judicial, national identity and repatriation, international property rights and copyright law, authorship and ownership, the human body and the body of work. Eight additional essays round out Magrid s discussion. Contributions by Leonardo Diaz Borioli, Nikolaus Hirsch, David Kim, Cuauhtemoc Medina Gonzalez, Daniel McClean, Hesse McGraw, Elizabeth A. Povinelli and Ines Weizman"

A Lebanese Archive is based on a collection of archival photographs from Lebanon and the Middle East, which came into the hands of Ania Dabrowska in 2010 when she was a SPACE artist-in-residence at Arlington hostel Camden, London. It belongs to Diab Alkarssifi, a Lebanese émigré, who was living there at the time. -- Lebanese archive website

In recent decades, the art world's interest in archives has increased steadily, developing into a true "compulsion to archive." In her text, Suely Rolnik describes the root of this tendency in Conceptual art of the 1960s and 1970s, and focusing on the countries of Latin America that were under military dictatorships. She sees one explanation for this in "unconscious colonial repression," which, like the dictatorial regimes in these countries, left behind a far-reaching trauma and led to a split between the poetic and the political, widened through the misunderstandings of "official" art history, which interprets the artistic practices that are found there in terms of a "political" or "ideological" Conceptual art. Against this background erupts the will to turn toward the archives anew and reactivate the fusion of poetic and political forces. -- Publisher's description

Queering the Collection is the culminating publication based on the Queering the Collection program, a collaboration between GenderFail and the International Center of Photography Library. Queering the Collection is a series exhibitions, programs and events that presented a variety of curatorial perspectives on contemporary investigations of gender through archives, libraries, and collections. The publication features a forward by Paul Soulellis and texts by Nora Khan, Shuv Kotecha and Allison Parrish.

This 380 page, 140 foot long, unfolding accordion book published by Evil Twin Publications in 2009 is the comprehensive archive and account of the Sundown Salon series held in the Los Angeles geodesic dome of Fritz Haeg from spring 2001 through fall 2006. - Fritz Heag website

In 2003, Mexican artist Iñaki Bonillas introduced the photographic archive belonging to his grandfather, José Rodríguez Plaza, into his work. Its content which, since that time, has undergone a wide range of operations, has permitted him to combine elements that seemed, a priori, incompatible: on the one hand, a personal, biographical narrative, consisting of anecdotes and rather personal character notes; and, on the other, a quasi-scientific sense of compilation and classification.
The book “J.R. Plaza Archive” sets out to assemble a series of theoretical and literary digressions by an equal number of writers, philosophers, and poets, on 20 of the works that Bonillas has created from the material of this archive: a vast collection of images that appears to have awakened in the artist a need to explore the possibility of ultimately exhausting all its combinations and variants.
The book is conceptualized, then, as a kind of catalogue raisonné that ranges from the very first attempts, where the artist dealt with the diverse ways in which the pages of the more than 30 albums that comprise the archive (and which trace, without even intending to, a little history of photography of the 20th century) could be displayed; to the most recent exercises, in which the images have lost their familial nature in order to become starting points for a broader reflection about the various uses of photography, and the transmissibility of the archive.

Lost Art is a catalog of post-modern artworks that have suffered a material destruction, displacement, or disappearance.

Summary: "[...] Nguyễn initiated The Making of an Archive, a project that seeks to collect images of everyday life photographed by migrants, particularly of people of colour, in a direct, collective and exploratory approach. One of the salient themes of the work is how to make visible the rich histories of activism and solidarity that complicate the pervasive myth of the agreeable “model minority.” The publication The Making of an Archive serves as a critical document of Nguyễn’s research and the project’s relevance to larger conversations around Canadian vernacular photography by people of colour, the role of the artist-initiated archive, and how an expansion of the archival record relates to political and social change."--Publisher's website.

"I kept every single letter, from the first notes received from my mother, in 1965, up to the time I left Belgrade for ever in 1979. I decided to chronologically write down the first sentence from all of these letter, without noting the names of the senders"--Dust jacket

Features new photographs and text by artist Trevor Paglen, centered on the archive of Peter Merlin - a historian and leading expert on classified aircraft. 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. Paglen's 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 receipts in 52 Transactions represent books Kathy Slade borrowed from the Vancouver Public Library from September 7, 2006 to August 30, 2007. -- Cover flap.

"Dambudzo Marechera's death on August 18, 1987 is an event that remains unremarked. In Reincarnating Marechera: Notes On a Speculative Archive, Mushakavanhu interprets this event as a moment of radical praxis in the Zimbabwean imaginary, mining three overlapping archives--Marechera's own writings, his historical and theoretical legacy, and an imaginative archive that responds creatively to gaps in the first two. Here, Mushakavanhu also explores the affective relationship between a critic and his object of study, grappling with the transit between the historical archive and the critical present. In doing so, through text and visuals, the book is a revelation of countless ruptures and of the inexhaustibility of documenting a mercurial subject like Marechera."--Publisher's website, viewed July 13, 2021.

"[... a] visual biography of Ugandan Kaddu Wasswa, born in 1933, who played an important role in his community as a teacher and social worker. What is exceptional about the now 77 year old Wasswa is that he has always documented his activities. He wrote novels, plays and essays, took photographs and collected photos. Additionally, his extensive archive contains letters and newspaper clippings, often with added commentary"--Pub. info.

"The Da Qin Hospital in the South China Sea was built in 1924, it had treated more than 1200 leprosy patients. After 20 years' fight, the last 44 patients finally moved away from this island in January 9, 2011. Most of the patients had been living on the island for decades" - Publisher's description

Inspired by the traditional cartoon characters representing happiness, Li Kejun pays respects to the happy-go-luck country folks who have paved the road for the urbanization and economic developments. -- from 88Books.ca (Viewed 31 October 2012)

Interviews with inhabitants of Küba , "a pocket-sized neighborhood within the Istanbul urban megalopolis," that prides itself on its independence and separateness from greater Istanbul.

A Sign for the City is a public art project by Sabine Bitter & Helmut Weber that reassigns the meaning of Vancouver's Nine O'clock Gun. The twelve-pound cannon in Stanley Park is now fired nightly to mark the time. Previously it was fired to signal the close of the fishing day and as a navigational aid. For this project, each daily cannon blast is symbolically dedicated to a cultural, social, or political figure or event in Vancouver or BC's history relevant to that date. The project acoustically memorializes the politics that ground this history, towards imagining Vancouver as a socially and spatially just city.

"Beginning as an investigation into the apparently disparate events that bookend the twentieth and twenty-first century the collapse of Communism and the Islamic Revolution in Iran Friendship of Nations: Polish Shiite Showbiz traces unlikely points of convergence in Iran and Polands economic, social, political, religious and cultural histories. Drawing on Slavs and Tatars multi-disciplinary practice encompassing research, installations, lecture-performances and print media, this publication embraces new contributions in the form of essays, interviews, and archival presentation on subjects that range from seventeenth-century Sarmatism to the twenty-first-century Green Movement, taking in along the way, tales of the Polish Exodus, Wojtek the bear, craft, hospitality, Passion plays and taziyeh, and the political lessons of a Polish slow burn revolution for contemporary Iran."--provided by plublisher

Hirschhorn's work is distinguished by a synthesis of sculptural concern, political commitment and critical thought. Most of the Swiss artist's works have been temporary and carried out in public. These include, among others, the 'Bataille Monument', which he created in 2002 during the documenta 11 exhibition in Kassel; as well as the street altars he constructed in various cities and dedicated to artists such as Piet Mondrian and Ingeborg Bachmann.

"The Hell Passport Project is a 24-volume series of visual art chapbooks by 24 artists riffing on hell, holes, holiday suicides, sewers, zombies, ghost tracks, acephalic vulva, evil eye families, premonition rip-offs, bone hounds, contamination, papists' passports, larva womb rat, scum, entrail readings & scabnose demons. The artists in this project come from across Canada and take on a variety of approaches and styles, making this series a comprehensive survey of current contemporary drawing. Artists in the series: derek beaulieu, Lisa Cinar, Mark Connery, Rebecca Dolen, Brandy Fedoruk, Julia Feyrer, Emily Goodden, Roy Green, Sally Ireland, Ben L. Jacques, Collin Johanson, Donato Mancini, Billy Mavreas, Wesley Mulvin, Robert Pedersen, Guinevere Pencarrick, Owen Plummer, Terry Plummer, Fiona Smyth, Scheisse Wives, Colin Upton, Ed Varney, Julie Voyce and James Whitman."

The Great Bear Pamphlet series, originally published by Something Else Press between 1965 and 1967, was compiled and re-printed in 2007. It includes work by Ay-o, Philip Corner, W.E.B. DuBois Clubs, Oyvind Fahlstrom, Robert Filliou, John Giorno, Al Hansen, Dick Higgins, Allan Kaprow, Alison Knowles, Nam June Paik, Diter Rot, Jerome Rothernberg, Worlf Vostell, Robert Watts, Emmett Williams.

"[... a] visual biography of Ugandan Kaddu Wasswa, born in 1933, who played an important role in his community as a teacher and social worker. What is exceptional about the now 77 year old Wasswa is that he has always documented his activities. He wrote novels, plays and essays, took photographs and collected photos. Additionally, his extensive archive contains letters and newspaper clippings, often with added commentary"--Pub. info.

"In Henk Wildschut's powerful new book, he uses makeshift shelters to document the lives of migrants - whether they're known as refugees, asylum-seekers or illegal immigrants - who have traveled many miles to Europe but whose journey is still unfinished. Wildschut's photos show the remarkably inventive encampments built of waste materials in which these travelers exist, capturing the way in which this basic necessity of life shows the underlying story of violence, fear, political manipulation, desire, courage, sadness and anxiety. In focusing on the individuality of these dwellings - an incongruously colorful quilt, a plastic tent in a field of snow - Wildschut allows viewers to see these lives vividly, to transcend what he calls "the platitude of photography." Full-color photos, a rich essay and a beautiful fold-out cover."--provided by publisher

Summary: "This box is the residue of mail art activity during the years 1996-1998. In keeping with the project theme, all of the items meet two criteria: the creators identified them as "books" ; and, their creation was enabled by some kind of "collaborative" process. Each book item is labeled with a catalogue number that corresponds to information about it in the box's index, as well as in the original exhibition catalogue. The twenty boxes making up this edition of Renegade Library include the items of the original exhibitions that survived its years as a mail art lending library (1998 to about 2002), and additional items that were contributed immediately following the exhibition. These boxes are being located in publicly accessible collections of artists books throughout Canada and other countries."--Lois Klassen, accompanying documentation.

"Drawing from archeology, anthropology, and traditional craft, the artists in Working Back engage in sculptural interventions with once discarded things. Kerri Reid, and Kara Uzelman manipulate found objects, shifting their forms and values, blending stories and histories on re-created or re-contextualized surfaces."--From exhibition description.

Transparent box containing layers of printed paper, cardboard, foam, fabric, bubble-wrap, newspaper.

Gardenstrasse / Derya'y Akay & Julia Feyrer -- Trash heap / Courtney Burke & James Whitman -- [postcards] / Jo Cook -- Observatory / Bucky Fleur -- Portrait of Michael Furtado / Emily Gooden -- The birth of kitsch / James MacSwain -- Pig dog [and postcards] / Wesley Mulvin -- Mystic crossing drawings / Owen Plummer -- Lightning bolt pin / Southern Gulf Electric.

"Reading the Migration Library is an on-going art project that aims to produce a library of migration narratives. Responding to crises in migration as well as reading, various activities make up this emerging and virtually infinite library."--Klassen's (contributing artist) website.

An exhibition presented with the cooperation and assistance of the National Gallery of Canada and the Canada Council ; shown at the Fine Arts Gallery, University of British Columbia, Oct. 13-30, 1971.
Creation/Production Credits Note: Postcard artists: Ant Farm, Eleanor Antin, Liz Banks, Maxwell Bates, Don Battershall, Jeff Berner, Dr Brute, Monte Cazzaza, John Clinch, Peter Daglish, Lowell Darling, Christos Dikeakos, Joe Fafard, William Farley, Robert Fish, Carole Fisher, General Idea, Jochen Gerz, Henry Greenhow, Geoff Hendricks, Sander Heynemans, Ray Johnson, Greg Jupiter, Glenn Lewis, Alan Lindenfeld, Tim Mancusi, Michael Morris, Gary Lee Nova, Sally Peanut, Ken Price, Dave Rimmer, Victor Roehrick, P.C. Schmidtz, Dallas Selman, John Silvermouse, Bryce Thompson, David UU [David W. Harris], Bill Vazan, John Willenbecher, May Wilson.

"DOG Inaugural Issue. A Smorgasbord of Heavy Hitting Pictorial Wizards."--Publisher's website.

"Spring 2016, Moniker Press closed the studio for a six week adventure through Europe. The challenge: to experiment and collaborate with fellow printmakers while in transit (sending creations to subscribers via snail mail.) In December 2016, Moniker Press visited Mexico (for Rrreplica) and continued the project for a Special Edition of Mobile Moniker."--publisher's website.

The Hell Passport Project is a series of 24 visual art chapbooks by 24 artists riffing on hell, holes, holiday suicides, sewers, zombies, ghost tracks, evil eye families, premonition rip-offs, bone hounds, contamination, papist’s passports, larval womb rats, scum, & scab-nosed demons.

The artists in this project are from across Canada and the variety of approaches and styles make this series a comprehensive survey of current contemporary visual poetry, drawing and comics. -Perro Verlag Books Website

"Exhibition catalogue. The history, form and function of the humble box. Accordion fold containing colour illustrations of exhibits, with die cuts, pop-ups, gatefolds; “The Art of Making Boxes” by Ron Glowen"--provided by publisher

An investigation into the Geneva Ecart movement – ​​an update on a particularly abundant and provocative period of Swiss and European art. -Les presses du réel Website

First exhibition catalog dedicated to Daniel Buren. The exhibition which took place in fourteen different places from the 18th January to the 7th March 1975 was directed by the Städtisches Museum of Mönchengladbach. Including one catalog in french, one in german, an exhibition guide and a foreword by Johannes Cladders. -Saint Martin Bookshop

In Book Manifest, Dutch designer Irma Boom presents her vision on the essence, meaning and relevance of the book. Based on the in-depth research that Boom conducted into the development of the book in the library of the Vatican. Book Manifest at once a survey of the history of the book and a miniature Irma Boom retrospective, reproducing a selection of more than 350 books she has designed over the course of her eminent career. Alongside reproductions, Boom extensively discusses the relationship between her work and older book forms. -CCA Bookstore Website

"...produced for Artspeak's 25th Anniversary, features 5 silkscreened color postcards that can be fitted together in variety of building permutations. The cards can be mailed individually or kept as a set..."--Publisher's website

Jenny Holzer’s Belligerent is the latest title in the LiberArs series. While the book shares a format with the others in the collection, a closer look reveals that this is not a traditional book but a box with a magnetic closure. The box opens to reveal seven original works by Holzer that unfold into 60 x 79 cm posters, which can be kept in the box or even framed and displayed. In Belligerent, Holzer has found the fingerprints of an idle consciousness in redacted reports of detainee abuse in American military prisons, revealing it with precision while daring the reader to look. In his introduction, Joshua Craze says ‘There is a double violence in the redacted documents that Holzer paints: the violence done to the detainees, meted out in secret, and the violence done to the truth, visible in the redactions of the documents. The truth does not simply disappear, but appears as an absence.’ - ivorypress

An artist's multiple created by American designer Zak Jensen, 12 PEACES consists of a 12-page booklet, twelve stickers, one large button, one small button, and an iron-on patch. All items come housed in a screenprinted box. -Draw Down Website

"This beautiful limited-edition print volume is my first artist book about the technique and concept of ceramic 3D printing, rule-based mathematical art, and art-science collaboration. Technical chapters cover clay working, 3D printing, and ceramic printing, and offer plenty of resources for beginners and advanced printers alike." -- Artist's Website.

"The Egyptian Boy is a facsimile of a notebook that Tel Aviv–born artist Tal R (born 1967) has been working on for the last three years. The source for his recent group of ceramic sculptures, it explores bodily fragmentation and dismemberment in the manner of the god Osiris." -- ArtBook.com

"The Tree: Literal and Figurative, is an exhibition catalogue of selected works from the exhibition at the Chinese Cultural Centre Museum, Vancouver BC, 2014. The exhibition expresses the theme of nature as experienced in forests, the built environment and as raw material for industry. This group exhibition presents images and impressions of the tree in a variety of media, including ceramics by Pauline Doyle. The artists from BestB4 Collective are graduates from Emily Carr University of Art + Design and the University of British Columbia." -- Blurb.ca

"The body knows which arm to lift, which joint to bend and how to fill a belly in order to find some stability, some transformation. In this circumstance, the body writes through a very specific process. Clay forms have been moulded from the body, in movement, and were later used by many to focus on sensation, conjure visions, listen to stories and create movement rituals." -- Back page of envelope.

Journeys of J.: the Pegmatite Dikes / Jo Percival -- The real glasses I wear / Andy Patton -- Sleight of hand / Miles DeCoster -- Postal workers on graph paper CUPW / Mike Duguette --Audience arrangements / Bruce Barber -- The woman that no one could really see / James Dunn.

"Sophie Calle presents 107 outside interpretations of a "breakup" e-mail she received from her lover the day he ended their affair [...]All of the interpreters of Calle's breakup letter were women, and each was asked to analyze the document according to her profession--so that a writer comments on its style, a justice issues judgment, a lawyer defends Calle's ex-lover, a psychoanalyst studies his psychology, a mediator tries to find a path towards reconciliation, a proofreader provides a literal edit of the text, etc. In addition, Calle asked a variety of performers, including Nathalie Dessay, Laurie Anderson and Carla Bruni, among others, to act the letter out. She filmed the singers and actresses and photographed the other contributors."

Features work work by Sarah Davidson, Juli Majer, Melanie Thibodeau, and Sonja Ratkay

”An Incongruous Landscape was produced by artists at Emily Carr University of Art and Design in response to the novel Invisible Cities by Italo Calvino. The title is an excerpt from the final passage of the book, the last exchange in the rich, unfolding conversations between Marco Polo and Kublai Khan.”

"This was commissioned by the Art Libraries Society of New York for the Contemporary Artists Books Conference at Printed Matter's 2009 NY Art Book Fair."
"What follows is the documentation of 23 travels within Wikipedia (navigating from article to article via a connecting hyper-link, producing a string of connecting articles)."
Contributors include Paul Branca, Dexter Sinister, Barbara Ess, Fillip, Rob Giampietro, Marc Handelman, Zach Houston, Adam Katz and Julia Sherman, Brian Kennon/ 2nd Cannons Publications, Chosil Kil, Alex Klein, Marisa Olson, Paul Pieroni, Laurel Ptak, Eileen Quinlan, Michael Smoler, Jamie Stewart, Oraib Toukan, Lia Trinka-Browner, Jen Delos Reyes, Rafael Rozendaal, Ryan Waller, and Amy Yao.

The collected volumes of Bartleby Review, "a free and occasional leaflet of criticism and other writing published in Vancouver, Canada," bound and published

The catalog consists of 95 4" x 6" index cards in random order including 64 cards compiled by the artists themselves.

Gardenstrasse / Derya'y Akay & Julia Feyrer -- Trash heap / Courtney Burke & James Whitman -- [postcards] / Jo Cook -- Observatory / Bucky Fleur -- Portrait of Michael Furtado / Emily Gooden -- The birth of kitsch / James MacSwain -- Pig dog [and postcards] / Wesley Mulvin -- Mystic crossing drawings / Owen Plummer -- Lightning bolt pin / Southern Gulf Electric.

A collaborative project by the Master of Fine Art graduates of the Piet Zwart Institute 2011, jung+wenig, and Ellen Blumenstein” – Anthem for the People’s Tomorrow (p. 3.) Includes work by Serena Lee, Lee Welch, Rachel Koolen, Martijn in't Veld, Arvo Leo, Camilla Wills, Giles Bailey, Susana Pedrosa, Linda Quinlan, and Timmy Van Zoelen.

The Great Bear Pamphlet series, originally published by Something Else Press between 1965 and 1967, was compiled and re-printed in 2007. It includes work by Ay-o, Philip Corner, W.E.B. DuBois Clubs, Oyvind Fahlstrom, Robert Filliou, John Giorno, Al Hansen, Dick Higgins, Allan Kaprow, Alison Knowles, Nam June Paik, Diter Rot, Jerome Rothernberg, Worlf Vostell, Robert Watts, Emmett Williams.

Features work by Jason Yates (Fast Friends Inc.), R.L. Crutchfield (Dark Day/DNA), Don Bolles (The Germs, Nervous Gender), Ariel Pink, Kilynn Lunsford (Little Claw), Josephine Foster, Mel Kadel, Steve Touchston (XBXRX), Mikey Turner (Warmer Milks), Tex Kerschen (Indian Jewelry), Devendra Banhart, Jim James (My Morning Jacket), Jamie Stewart (Xiu Xiu), Vice Cooler (Hawnay Troof), Jeff Jank, Marissa Nadler, Travis Millard and more.

"InThe Exquisite Book, one hundred indie artists play an ingenious version of the Exquisite Corpse drawing game. Each adorns a page with artworkhaving seen only the page of the artist immediately prior and using a single horizon line to connect the two. Some continue the "story" quite literally while others build on the previous page in more fanciful ways. This astonishing volume's format is as unique as its content, with each of the book's ten chapters residing on a ten-page accordion pull-out, allowing readersto view the art continuously."--provided by publisher

"16 Writers Artists Thinkers. 16 Personal Maps. Each one exploring the idea of what a map can be." Includes work and contributions by John Simpson, Cloe Aridjis, Olafur Eliasson, Lila Azam Zanganeh, Will Wiles, Alain de-Botton, Leanne Shapton, Sheila Heti, Ted Mineo, James Bridle, Peter Turchi, Valeria Luiselli, Adam Thirlwell, Tao Lin, Geoff Dyer, Joe Dunthorne, Denis Wood.

"I grew up in Clearwater, Florida close to the beach. I went swimming a lot, hung out in parking lots, went to music shows and ran around with friends causing trouble. I started taking pictures. Then went to college at the University of Florida, began making videos and sculptures. Then joined a circus and ran off with them, causing more awesome trouble. We were called Cloud Seeding Circus of the Performative Object. Then I ran away to Germany to lead bike tours one summer and my travels took me to New York. I started to paint and draw. My house burned down on Super Bowl Sunday of 2004, the same night I decided to start a gallery with this guy named Sto. Nine plus years, Cinders is still going, now as a non-profit organization. I had been living in New York for a decade and now live in Florida as Co-Director of F.L.A. Gallery in Gainesville. I make music in the bi-coastal band, Light Hits. I have work in the permanent collection at MOMA and the New York Public Library. The NYPD ran me over on my bike and broke my back and pelvis, but i am fine now and like to go on walks outside and plan my career as a manatee camp counselor one day..."--provided by publisher

In FORMAT, Sarah Crowner’s first widely distributed artist book, the artist creates a roving collage of source material culled from a diverse range of previously distributed print material: magazines, books, posters, newspapers, postcards, etc. This publication provides a rare insight into the artist’s working practice, demonstrating Crowner’s concerns with visual formulations hinged on historical investigations, particularly in the overlap of art, writing, fashion, and design. Crowner’s graceful positioning of this material gives the reader a spirited visual narrative that unfolds many of our inherited formal mantras of the 20th Century. - primary information website

36 full-color pages of all floral themed collages works. - Ted Feighan website

New Civilizations is a self published book of collages produced in 2012. They feature an essay by Kate Walchuk and 22 original collage works. They are 9" X12", 24 pages printed offset on 80 lb stock, first edition of 250. - Chris Foster website

'“The moment right now, it’s a tragically regressive time we live in, you know. We just grounded the Concorde. Where’s the future? We’ve lost the future. It’s like we don’t even have a need of the future in a way that the last century was all about it… I’m very jealous of an era where people were inventing something so beautiful as the Concorde and thinking that’s the next step. I’m jealous of an era when people thought, “Let’s finally go to the Moon.” How insane is it to think like that? Cold War or not, somebody had to believe that could work, then the propaganda, and then people went, probably for the hell of it.
The future isn’t as optimistic as it once was, so people don’t aestheticize it like they once did. It’s not looked at so sanitarily, so neat and clean.”
Aleksandra Mir'--provided by publisher

Facsimile of an artist book that Genzken created about 15 years ago in Berlin and published on the occasion of the exhibition at the Stedelijk, Amsterdam (29.11.2015-11.03.2016). The book, a scrapbook in the style of Genzken's well-known publication 'I Love New York, Crazy City', is full of playful collages in which she reflects on big-city life, media culture, sexual identity, and her own biography.

”This selection of drawings and collages is the 5th collaborative project between Alicia Nauta and Eunice Luk.”

Famous paintings altered by collage.

"Sara MacKillop’s New Stationery Department takes the form of a book and a show. The book is similar in form to many stationary catalogues. Cheapness, though it is not real, is amply referenced. The ink appears to lurk through the paper, so that unrelated items are superimposed on a same page. But such is the self-reflexivity of artistic research. An eraser erases itself out of a page, coloured pencils are placed on so perfectly matched backgrounds that, except for the little bit of wood before the point, they disappear."--from artist's website

"‘Alphacollage opens with a surrealistic essay which also acts as an introduction to the book. As with most Zeller writings, this is printed in English, French and Spanish. ‘‘Cutting Out Letters Means ...’’ explores the birth of language in its literal, imaginative and artistic forms. This of course relates intrinsically to Alphacollage, which presents each letter of the alphabet as a collage. Zeller is concerned with language as it defines the relationship between dreams and reality, and this reflects Breton’s view that surrealism is trying to express the ‘‘prime matter of language’"--provided by publisher

Focusing on found objects such as stickers, greeting cards, and magazine photos collected in collage framework, complete with song lyrics hand-lettered in cursive script and heartbreaking, melancholic watercolors, Ahlers explores and exposes the social construction of roles, feminine and otherwise. Beginning with incipient childhood self-awareness and traversing high school status jockeying to adult social climbing, the cultural imagery that supports and informs personal identity is given uneasy new meanings and importance in Ahlers's visual remixes. - Amazon.com

Companion catalogue to the exhibition The Blue of Distance, presented at the Aspen Art Museum from April 10-June 28, 2015. It is also a graceful meditation on the color blue and its relationship to longing.

"Light Blue Desire: A Manual For the Color Blue is an artist book mapping the amorphous definitions and uses of blue across languages. Gathering idioms from around the world the manual acts as a compendium of contradictions and concepts around a color that is high and low, peaceful and pornographic, melancholic and manipulative, and consistently voted the world's favorite color. How and why does blue seep into our speech, color our thoughts, lap into language? In attempting to define a color, a concept built out of perception, we begin to let slip our interior selves"--Author's Web site, viewed January 3, 2019.

Both an artist's book and a would-be practical guide, this beautiful little book offers occult instructions for becoming invisible by meditating on the color spectrum. It draws on the literature of Rosicrucianism, theosophy and esoteric yoga to demonstrate how, through breathing exercises and visualization, the reader can learn to split light into its constituent parts, then recombine the seven colours of the spectrum to form a glowing white cloud that envelops its creator, rendering him or her invisible.--publisher's description

A Rainbow Reader is a work of creative non-fiction which looks at colour from the personal perspective of Tessa Laird, an artist and writer based in New Zealand.
In 2009, Tessa Laird started a Doctorate of Fine Arts investigating the (r)evolutionary power of colour, from a personal, and political, transformative angle. A Rainbow Reader is the result of that study, but it is no ordinary academic treatise. Consisting of six chapters, one on each spectral hue, colour becomes a catalyst for speculative writing encompassing art history, literary criticism, personal anecdote, philosophy and anthropology.
Each chapter of A Rainbow Reader is bound in the appropriately coloured card; together, the six chapters form a rainbow spine and operate as a kind of edition-based artwork, a veritable rainbow on your bookshelf.--publisher's description

"An unclear record of the past and an accelerated consumption of the present can equally appear as a blur. A digital image folding into itself in perpetual blur will ultimately move toward non-image qualities, revealing its latent modality as pure, ambiguous colour. Lived Image – the year in blur begins with these thoughts, indexing one year through the circulated image. Using the date as search term in Google Images, one file was retrieved daily through a rule-based process that randomized its selection. Dissolving the colour data in each of those images produced this compendium of three hundred and sixty-five colour values. Thinking through the calendar day as a unit of personal and cultural history, these deactivated images assemble in the work as placeholders for the unselected, unexposed, or unrecorded. As an elemental visualization of time, their printed date and reproduction codes remain the only tether holding each blurred image above the surface of non-specificity. What is the presence of all colours is an accompanying text by Jacob Korczynski found on the exterior package of each edition."--Provided by publisher.

Four basic kinds of lines & colour is a classic artists' book by preeminent conceptual artist Sol LeWitt (1928-2007). Featuring 34 pages of drawings, the work is an early example of LeWitt's rigorous, algorithmic process in which a set of rules, applied to generate an image, are subsequently run through all of their permutations. In the late 1960s LeWitt began applying this technique, first developed for his wall drawings, to "artists' books", a term that was coined two years after this book appeared. In this publication, LeWitt demonstrates the 34 ways that basic lines (horizontal, vertical, left-facing diagonal and right-facing diagonal) can be rendered in four colors (red, yellow, blue and black), with each page displaying a single combination (for example, horizontal lines in blue). The book is one of LeWitt's signature bookworks, which in its original edition remains quite scarce, so this new facsimile edition is significant; almost none, if any, of his books (he produced over 50) have been reprinted.--publisher's description

Chrysanne Stathacos, an artist known particularly for finding the spiritual in art, presents this book which presents 40 full-page color photographic portraits of various people including the Sadhus by the Ganges, Tibetan refugees in Dharamsala, Krishna devotees from Vrindavan, Shinto dancers from Japan, and Sikhs from Long Island. The portrait photographs are taken with an “aura camera,” a biofeedback invention used at psychic fairs to record the aura of the sitter. This book documents the artist’s three years of traveling throughout the world to catch people’s auras in a single snapshot.--from Printed Matter

"Blue Icons is a hand-stitched conceptual book project by Dan Walsh. Available in two versions -- Blue Icon (Day edition) and Blue Icon (Night edition) -- the works offer a different take on a small-edition project first produced by Walsh in 2013 under his imprint Moody Studios. Across thirty-two pages, Blue Icon (Day edition) explores a minimalist conceit shaped by two progressions of form. Each sheet has been trimmed down to a different size and is composed of small 'halftone' dots that shift across the color spectrum, from greenish to violet-y blue. Turning through the book these two variances are played against each other as the reader moves toward smaller pages and deeper hues (and then back out with the sequence in reverse). When laid open at the center stitching the book's pages are nested in ascending order, radiating outward in a bright aura."

"[Risograph] swatch book collects all colours available from Colour Code. Includes Pantone, HEX and RGB equivalent values."--provided by publisher

"SCREENING is a crossover project by Sigrid Calon & Willem van Zoetendaal. Since their first meeting at the Best Dutch Book Designs 2012 Calon & Van Zoetendaal started a collaboration in exchanging their specific skills in design and printing. They started to produce limited editions of artist books, posters a.o. about the relationship between patterns and portraits printed in risography on offset.
The first series of experiments, SCREENING 1 consist of studio portraits from the early eighties by Lee To Sang. These portraits, negatives selected from the Van Zoetendaal Archives are printed in offset. Sigrid Calon designed layers of colour patterns on top of the ‘models’ in risographic printing."--from graphic artist website

"Francesco Marrello’s comic, Le Dame Variabili, fuses the colorful spasms of computer glitches with natural formations of mountains, clouds, and lakes. Risoprinted in nine colors, Le Dame Variabili is a heavily saturated whirlwind that evokes the technological forest of the digital age."--provided by publisher

”Employing 3D software, Rafman sculpts “skin”—including paintings by Bruce Nauman, Francis Picabia, Robert Delaunay, Mark Rothko,—onto virtual busts… In these busts actual art history meets possible futures… Together, the series forms a conceptual literature of alternative realities, totally alien, and yet, somehow familiar.”

A young researcher at Golden Dawn Laboratory discovers a species from outer space with octagonal fingerprints! These space inhabitants are skillfully stippled by Tawaraya, in his fourth installment of the coil-bound book series. - Provided by Colour Code Printing

"I grew up in Clearwater, Florida close to the beach. I went swimming a lot, hung out in parking lots, went to music shows and ran around with friends causing trouble. I started taking pictures. Then went to college at the University of Florida, began making videos and sculptures. Then joined a circus and ran off with them, causing more awesome trouble. We were called Cloud Seeding Circus of the Performative Object. Then I ran away to Germany to lead bike tours one summer and my travels took me to New York. I started to paint and draw. My house burned down on Super Bowl Sunday of 2004, the same night I decided to start a gallery with this guy named Sto. Nine plus years, Cinders is still going, now as a non-profit organization. I had been living in New York for a decade and now live in Florida as Co-Director of F.L.A. Gallery in Gainesville. I make music in the bi-coastal band, Light Hits. I have work in the permanent collection at MOMA and the New York Public Library. The NYPD ran me over on my bike and broke my back and pelvis, but i am fine now and like to go on walks outside and plan my career as a manatee camp counselor one day..."--provided by publisher

"Each issue is dedicated solely to one artist, who is invited to contribute with an unpublished text whose content is completely free in terms both of subject and format. The texts are published in their original language, with accompanying translations in English and Italian."--Colophon.

Using a selection of books chosen from the former library’s withdrawn stock, British artist has created a permanent installation, concealed within the internal cavity walls of the new Focal Point Gallery, Southend-on-Sea launched in 2013. As the only visible record of the hidden artwork, this artist’s publication documents the covers of the five hundred and thirty books, which have been methodically documented and reproduced over 1,000 pages. -- tipitin website

"The book you're looking at is made up of three sections: a prologue, wherein it is explained how a swamp is created; a central part, in which the stories of 20 disappeared individuals are told in eight chapters, and which also describes the passage through the swamp; and epilogue, where onceout of the swamp, the surrounding landscape doesn't quite look the same. To a certain extent, these chapters may be read independently of one another, all except the epilogue, which should be read last" -- Editor's note.

"Locating the unlikely midground between architecture and alcohol, Cyprien Gaillard (born 1980) created a pyramid of beer crates for his exhibition at Berlin’s KW Institute. Sitting on the pyramid at the opening, the audience drank the beer, so that the cases eventually collapsed, leaving behind a ruined monument."--provided by publisher

"The publication collects 1,800 secrets submitted anonymously by visitors to Huebler’s Variable Piece 4 at the Jewish Museum’s 1970 Software exhibition. In the piece, the artist asked audience members for “an authentic secret never before revealed” – each entry was then photocopied and given to another participant as part of an ongoing exchange. Several years later, the artist compiled the secrets into a book that was published by Printed Matter in 1978.'--provided by publisher

The catalog consists of 95 4" x 6" index cards in random order including 64 cards compiled by the artists themselves.

"Artists Heather and Ivan Morison bring together a recent body of work, incorporating a range of shelters and escape vehicles in a narrative that is part science fiction, part history, part autobiography, part fairytale.
Falling into Place tells of a world after an unspecified but high-impact event that has displaced people and caused those who survived to reassess how to live their lives from then on. Referencing a dystopian poignant wake-up call, bound in an engrossing novella that offers an extraordinary insight into a rich and intriguing artistic practice.
Bookworks"--from artists' website

Accessibility in the Arts: A Promise and a Practice is an accessibility guide geared toward small-scale arts nonprofits and the potentially expansive publics these organizations serve. It details specific ways in which disabled people are excluded from cultural spaces and offers possible solutions to those barriers. Moving away from historical and juridical definitions of accessibility, this guide considers the unique capacity of small scale arts organizations to meet the needs of disabled communities. It engages principles of disability justice to think through what can urgently be done to create more equitable and accessible arts spaces.

"The purpose of this workbook is not to tell you how to write alt- text. There are many existing resources that provide guidelines and how-tos (you can find a few listed in the Tools section). Our primary intent is to put alt-text on your radar (if it wasn’t already), to get you thinking about it creatively, and to explore a few of the key questions that come up when translating images into text."--publisher description

An illustrated zine about living with the chronic pain of Endometriosis

"freshwater | salt is a meditative exploration of water and its relation to Rosemary’s mental health recovery. Living with a lifelong mental illness like bipolar can at times feel incapacitating in a way difficult to tangibly describe, and can make it painfully difficult to understand identity as a unified whole. How do you show someone what depressive episodes spanning 10 years looks like, with full shapes? And then how do you convince people to care?"--Publisher's description.

"Mad Marginal Cahier #4: I See Words, I Hear Voices brings together essays by international authors that develop different threads pertaining to artist Dora García’s practice. In her research, she explores—through the figures of James Joyce and Robert Walser—deviant literature, exploded language, the unconscious, and the notion of exile as inherent to artistic practice. García is currently examining voice-hearing and other extrasensory perceptions. Mad Marginal Charts, an abstract mapping of references central to her idea of marginality as an artistic position, marks her trajectory in this new cycle of works, which has been featured and elaborated in exhibitions in 2014 and 2015."--Publisher's description

"the lexicon gleans crip vocabulary from its wild literature, channelling writers in honour of their cosmic exhaustion that fuels disability justice work in all its forms. There is a focus on trauma as psychic woundedness in this text, which is invited into the space of disability in different ways, one of them being the increased vulnerability of the disabled body to trauma from an early age, especially in medical and domestic spheres..."--from introduction

In 2005 Nadia Myre began a long-term exploration of how people describe their pain, hurt, healing, and scars with a needle and thread, and paper and pen. What emerged was The Scar Project, a viewer participatory open-lab/installation/exhibition where individuals could sit and ‘sew their wounds’, literal or metaphorical, on one of the canvases provided, and recount whether or not their scars could heal. This work, which consists of close to 500 scarred and sewn canvases and accompanying stories, documents a multitude of voices from all walks of life and age ranges.--publisher's description

"Automatic Alternative Text is a feature offered by Facebook for image captions. The goal of the feature was to provide more context to visually impaired users who rely on screen readers to interact with Facebook. While these computationally generated texts are not visible on the interface, they can be found in the image alt tag of the page’s HTML code.
Automatic image recognition and captioning by computers are still limited. The tasks involve many nuances that are difficult for a computer to emulate.
Seeing Like a Computer documents images with their automated captions from Mark Zuckerberg’s Facebook Wall. The algorithmically composed descriptions include phrases like “one person, smiling” or “person, outdoor, nature.” These fragments complement the optimistic public persona of Facebook’s founder while literally and figuratively hiding from view important content and context."--publisher's description

"In his notebook, W. J. T. Mitchell examines the visual representations of insanity in contemporary cinema. The staging of insanity in movies of the twentieth and twenty-first centuries poses the question of whether cinema, in its hypervisibility, has succeeded in making the gestures of insanity perceptible. The visual theorist Mitchell believes that movies make it possible to see and hear madness “from within.” This seeing is constructed from the side of the medium and culminates in a “madness of the visible,” which allows viewers to be touched by the one who is mad. As soon as the experience of madness is mediated and accessible as a social space, the bound between the “normal” and the “insane” becomes tightened, to a degree where, to paraphrase Foucault, one day we will not know anymore what constitutes insanity."--publisher's description

Summary: "Being alive is complicated when ants have decided to house themselves inside your body." -- Moniker Press.

With Blind, French conceptual artist Sophie Calle (born 1953) revisits three earlier works constructed around the idea of blindness. In “Les Aveugles” (“The Blind”), created in 1986, she questioned blind people on their representation of beauty; in 1991, in “La
Couleur Aveugle” (“Blind Color”), she asked blind people about their imagination of perception and compared their descriptions to artists’ musings on the monochrome; “La Dernière Image” (“The Last Image”), produced in 2010 in Istanbul, involved questioning people who had lost their sight on the last image they could remember. By establishing a dialectic between the testimonies of several generations of blind people and Calle’s photographs based on these accounts, the artist offers readers a reflection on absence, on the loss of one sense and the compensation of another and on the notion of the visible and the invisible.

"Amber Albrecht's work is rooted in magic, folklore, and postfeminist neo-romanticism. An entry in the Petit Livre imprint of accessible art books, Idyll comprises a series of paintings, screen prints, and drawings." -- Drawn & Quarterly Website.

A diary, with drawings, that recreates Anderson's dreams over the course of a year while on the road on a solo tour.

"French artist Julien Berthier's second book of drawings--part of a series of artists' projects edited by Christoph Keller--features illustrations of unrealizable projects and absurd scenarios that are at once poetic and humorous."--provided by publisher

A collection of drawings featuring pages in French-fold format.

The drawings, writings, notes, and fonts created for the production of Paul Chan's projection Sade for Sade's sake, which premiered at the 2009 Venice Biennale.

"D is for drawing ... FUKT a magazine for contemporary drawing"--Spine.
"The joint issue of D magazine and FUKT on the occasion of their collaborative exhibition FUKT & D (DRUNK ON DREAMS)" --Colophon.
Launched May 5th 2007 at Fruehsorge Contemporary Drawings, Berlin, in connection with the exhibition of the same name.

"Since 1998, Ingo Giezendanner alias GRRRR documents the urban spaces in which he stays at the moment. From Zurich via Nairobi, New York and Karachi to Cairo and New Orleans he drew his surroundings on location with pen on paper. Subsequently, he processed his drawings in magazines, books and animated films as well as in spacious installations and wall paintings. GRR30: urban recordings is his thirtieth publication. It contains drawings from the years 1998 to 2006 which provide insight into Giezendanner's entire work for the first time." -- Passenger Books.

"Jeppe’s idea is an interactive diary.

The artist's daily ritual of using water color to express his daily moods has translated into an interactive artist book that encourages the reader to express their feelings."--provided by publisher

"Back in print for the first time in nearly thirty years, here is Yoko Ono's whimsical, delightful, subversive, startling book of instructions for art and for life."--provided by publisher

"For ten years, Danica Phelps has been documenting and drawing her life, in visual codes that tracked first her monetary and then later also her erotic activity. Calendars chart the daily comings and goings of an artistic existence, watercolors illuminate amounts spent and gained, and sinuous graphite line drawings record quotidian intimacy between Phelps and her lover Debi."--provided by publisher

"Water Gold Soil: The American River tells the story of a single flow of water in present-day California from origin to end use. Beginning at the river’s headwaters in the Sierra Nevada mountain range, the book follows the water through pipes and dams, past Sutter’s Mill and the birthplace of the Gold Rush, to the corporate agricultural fields until it eventually disappears into the ground, finding veins in the soil. Including a short essay by Elizabeth Kolbert, the book brings together a series of narrative text, photographs, and archival images that represent the history of extraction in California and testify to the social and ecological consequences of watershed colonialism"--Publisher's website.

Published in conjunction with the exhibition Documenta 13, held June 9-September 16, 2012.

"Stones is a limited edition box-set of books [...] Falkenberg’s photographic sequences immerse the viewer in a sensation she describes as “both knowing and not knowing.” These slow pivoting observations evoke a direct experience of the landscapes themselves, in all their contingency: What is the feeling of trees, of trash, of ice, of light? Using different sizes, bindings and pacing for each piece - some form continuous loops while others hold still - Falkenberg makes these inchoate feelings miraculously tangible."--Open Projects Press.

"Fire Season was launched as a means of collective sense-making on the topic of wildfires. We continue to gather a wide variety of voices: artists, academics, writers, wildfire fighters, Indigenous community members, and those that work in the logging industry, government policy, and environmental activism to contribute their stories, ideas, and questions to a larger conversation."--From publisher's website

Published in conjunction with The Anthropocene Project 2013/2014, an initiative of Haus der Kulturen der Welt, in cooperation with the Max-Planck-Gesellschaft, Deutsches Museum, Munich, the Rachel Carson center for Environment and Society, Munich, and the Institute for Advanced Sustainability Studies, Potsdam"--Colophon.

"About Trees is an artist book by Katie Holten. It will be the first book in BDP's new series: Parapoetics - a Literature beyond the Human. Holten has created an alphabet from her tree drawings and made a new typeface called Trees. Registering a crisis of representation, About Trees considers our relationship with language, nature, information, drawing, ecology, memory, systems, and time in the Anthropocene"--Publisher's web site.

“The Wilderness of Mirrors” explores a fictional narrative located around Monument 83, a lookout point on the US/Canada Border at the edge of EC Manning Park. Using video, sculpture and drawing, Keith Langergraber forms the story of a fire spotter who, isolated at his post, starts to lose his grasp on reality. When a visitor arrives and declares “I don’t know where my mind ends and the forest begins”, he not only reflects the protagonist’s state of mind but may, one wonders, also be a product of it. Notions of geography, personal utopias and loneliness play out in the exhibition narrative while the setting itself raises greater questions around regional ecologies, border theory and climate change."--Two Rivers Gallery.

The entry into the flexagon structure is a background of blue water with a call to the Mother of the Waters floating across the page to "Encircle us." And, the flexagon structure does come round to encircle the message. " - from web site

What is nature? How do we perceive it? How do we appropriate it, shape it? Anita Zumbühl (*1975) examines the relationship between man, nature and culture in her works. For this she uses found objects such as crystals, branches or mosses, as well as materials for home use such as cotton wool, wool and fabric. Internal and external landscapes meet and enter into dialogue with one another. The artist takes man as a measure, physically and psychologically, tracking down emotions and addressing the theme of human longings and anxieties in performances - with the artist group Salon Liz for example. Anita Zumbühl's work is informed by intuition and a spirit of inquiry. This involves testing, discarding and re-combining. For her latest dye works she shifted her studio outdoors and included nature in the dyeing process - in the form of wind and weather. Exhibition: Kunstmuseum Luzern, Switzerland (08.06. - 25.08.2019).

This book is intended as an artist or crafter's guide to the identification, harvesting, and processing of weeds and other wild plants for the purposes of producing dyes. Instructions on dye-making are included.

"'Repositories ...' takes us on a series of ecoconscious journeys with an artist who has been intimate with many waterways, and the people, flora and fauna living along them. For over twenty years, Basia Irland has been working with scientists, students, activists and Tribal members along waterways across the US and Canada. With her ongoing art practice to create a deep and meaningful engagement with living bodies of water, the construction of Repositories emerged as a methodology for archiving documentation of research and physical engagements during Irland's riparian journeys. Repositories, the book, documents the construction of the artists' portable sculptures and the objects within which reveal rich stories of rivers through the collection of water data, watershed maps, artworks, plants, and seeds."-- ecoartspace webpage.

"With Unearthed, Rahel Oberhummer focused on microorganisms from the permafrost, a subsurface layer of soil that remains below freezing point throughout the year, in the canton of Grisons. These microbes have been preserved for millennia at sub-zero temperatures in a unique ecosystem which climate change has now put under threat. Scientists at the Swiss Federal Institute for Forest, Snow and Landscape Research WSL have taken samples to study them in artificial conditions. The Swiss artist took some of these microbes from the lab to her workshop, where she cultivated and photographed them in their Petri dishes. She monitored their rapid and random evolution. Out of nowhere, life suddenly flourished, forms and colours changed constantly until the resources were exhausted. These abject and attractive compositions became uncontrollable visual subjects. The publication features texts by WSL scientists as well as art historical, psychological and sociological essays. Information on the microorganisms and theirs special abilities and occurrences give the reader the opportunity to get to know the protagonists of the images."

"Published by Flash Art Books, a limited edition portfolio on the work of Sam Falls, The Four Seasons Forever, depicts 13 photogram works made by the artist, each pictured before and after its exposure to natural elements, such as sun, wind and rain."

"The project consists of a series of photographs depicting clods of mud dug out from the landscape in The High North, the northern region of Norway bordering to the arctic region and Russia. The lumps appear as abstract sculptures - studies in form and materiality. But in light of Torgersrud recent practice they are images of specific places, though with an even greater extent than previously they seem geographically unidentifiable. Thus, they oppose the prevailing method of dealing with landscape in photography, which is often characterized by a quest for something, identity-based and authentic. In Torgersrud’s view it is the actual form that is the photographs true content. In Lumps, through a formal approach to an increasingly politicized landscape - it is made visible how the photograph represents a place, while it has the capacity to draw fragments of place out of its original context."

Contemporary art almost invariably presents ideas and asethetics on a symbolic, referential level, particularly when it concerns itself with ecological issues. What this means is that it tells a story that does not include its material realities in that story. The effect this has is that the artwork hides its own material use, social impact, energy use, and other conditions necessary for its production and reception. We need to understand what is at stake when an artwork's primary form and mode of communication replicates the very probelms of a society it reflects on. The questions on the following pages were generated by Brett Bloom in conversations with Nuno Sacramento, director of the Scottish Sculpture Workshow.

"Using comics, interviews, and architectural sketches, ‘Undocumented’ explores a growing industry in an era of militarized borders, state surveillance, and criminalized migration. With a focused study on Canada’s migrant detention system, where detainees are often held in maximum security prisons without charges for indefinite periods of time, 'Undocumented' draws chilling conclusions about the societies that tolerate these punitive spaces of confinement. *All royalties will support the organizing work of migrants in detention through the End Immigration Detention Network."--publication's website.

"A quiet androgynous journal / picture book / art-comic about flowers beds, fast cars and the relationships between stages within myself. Cindy Lee appears, shimmering onto the pages of this book, accompanied by her lyrics from ‘A Love Remains'”--publisher's website.

Summary:
Fluorescent Mud is an art comic that is entirely hand painted in watercolour and gouache. Using a strong visual language of symbols and codes, compositions are accompanied by dialogue and retrospective poetry to flesh out the narrative storytelling. The book follows the main character through a series of seemingly unrelated and unexplainable experiences. These occurrences are communicated in an almost surreal fashion, taking into account the various states of mind, memories/thoughts/feelings and sensory experiences that affect a subjective retelling of events. Fluorescent Mud attempts to articulate unquantifiable moments that are often overlooked in narrative exploration either because they are non-normative topics or because they are difficult to communicate without the use of text and image based storytelling. The book is built up around the artists' specific visual language, to communicate the nuances of these non-tangible experiences. Its narrative artwork recounts the intricacies of our experiences, to acknowledge the beauty and depth that we get detached from through the monotony of capitalist routine. -- from Amazon.

"[...Explores some of the artist's...] moments of vulnerability[.]"--Artist's Instagram.

"Trixie’s Trek with Triniti is a collaboration in both print and music from Jon Vaughn and Sean Christensen. Starting from a few drawings made by Vaughn last summer, Christensen explored the series of abstract marks as a guide for a journey between two characters in which Vaughn later named Trixie and Triniti, a dog and its human friend. The two explore worlds of fragmented landscapes, rivers and architectures, taking pause to swim, read and dream. Reality and its many possible dimensions collide as both time and space morph throughout of the book, creating a kind of non-linear story that can be entered and existed at any point, yet also ‘read’ from start to finish like a traditional comic. To complete the experience the two composed a 30 minute soundtrack of synthesizer, drums and drum machines, adding musical colour to risograph printed gradients and deep blacks of the mysterious book."--publisher's website.

Summary: "The Sun’s Shadow, a version of which first appeared in the international comics anthology Lagon Revue, combines human and sculptural forms in an exploration of movement and stillness, isolation and harmony. A pointed use of color—black on white and blue on black—afforded by the Risograph process, along with an elegantly textured cover and loop-stapling, make Son Ni’s work an inviting and stylish object."--Printed Matter website.

Summary: "Being alive is complicated when ants have decided to house themselves inside your body." -- Moniker Press.

"How Do You Say Your Last Name? is a coloring book that explores the experiences of growing up as a first-generation Asian kid in America. From the “lunchbox moment” to high expectations from your immigrant parents, balancing cultures isn’t easy. What does “Asian-American” even mean anyway? Grab some crayons and ponder the duality of the two as you put yourself in the shoes of every other Asian kid having an identity crisis."--Printed Matter website

Summary:
Niklaus Ruegg's Spuk is a different kind of comic. Formally inspired by Donald Duck and Mickey Mouse comics these stories show a completely deserted world.

"Bacchanalia (2018) is a comic exploring revenge and anger. Through the lens of 4 fictional characters, I explore 4 instances of sexual assault that have happened in my life. Then, these fictional characters go on an amoral rampage together. It questions what happens when we don't have a good avenue to process or express our anger at being violated. What happens when we aren't allowed to be angry, for fear of not being a "good survivor"?"-- publisher's website.

A comic by Melek Zertal.

Summary:
Northern countries have always been at the junction of reality and fairytales – it is sometimes difficult to separate them. "Borderline State" is a 30 page experimental comic about a journey through real and mythological northern countries and continents. This comic isn't an attempt to narrate a logical and clear story; it's a surrealistic and slightly insane view of the Russian and Norwegian north. The comic connects contemporary scenes and author's impressions of visiting Kirkenes in November 2015 with maps of imaginary kingdoms, intricate schemes, different instructions and ordinary people's personal memories.

100 books in the edition of 1000 came with a film which is available for viewing on Ubuweb: http://ubu.com/film/broodthaers_voyage.html

Originally a five minute film, this book is comprised of stills of a horse in Angel-Park, near Cologne, alongside lyrics (in English) from the Palace Brothers' 'No More Workhorse Blues'.

This 1000 page all-text book collates complete descriptions of the well-known Vietnam films “Full Metal Jacket”, “The Deer Hunter”, “Apocalypse Now”, “Born on the Fourth of July”, “Hamburger Hill”, and “Platoon” into one intense volume. The films seem never to begin or end. Banner describes the films as though she is there, not influencing the plot, but always on set running along side the action.

"The starting point of the book is a film featuring German actor Udo Kier...In the tone of a futuristic novel, Aitken's text speaks of a solitary man endlessly on the move through different time zones and space-time continuums..."
Images and texts from the artist are bound in the shape of a head in profile.

"Last year we went to China to shoot a remake of Fritz Lang’s Metropolis (1927).
There we met Mr. Lu Yi and his team who had already made much progress with the film set. We worked together in order to complete the research. This book is the result of the first stages of the remake of Metropolis."--provided by publisher

"Hans und Grete, Sue de Beer's two-channel video installation, portrays the psychological lives of recent American school shooters. Considering real-life horrific events and their resulting social phenomena, De Beer finds common ground between terror--calculated acts of violence--and the morbid, escapist fantasies of the horror genre"--P. 18.

"'Rarely Seen Bas Jan Ader Film', by New York-based artist David Horvitz - the centerpiece of his exhibition of the same name at 2nd Cannons Publications - is one of these homages: a five-second video featuring a grainy black-and-white film clip of a man riding a bicycle into the ocean - an allusion to Ader's famous film 'Fall II,' in which he rides a bicycle into an Amsterdam canal, as well as to the nature of his presumed death"-- http://latimesblogs.latimes.com/culturemonster/2009/07/art-review-david-horvitz-at-2nd-cannons-publications.html This is a flip-book based on his film.

During the past decade, Los Angeles-based artist Doug Aitken has created innovative video art by fracturing the narrative structures of his films across multi-screen environments. In the spring of 2007, Doug Aitken: Sleepwalkers premiered as a monumental outdoor video projection onto seven facades of the Museum of Modern Art in midtown Manhattan. The silent story, told with exquisite imagery, chronicles the lives of five charactersas they move through New York City. Sleepwalkers features a diverse cast of actors, including Academy Award-winner Tilda Swinton as an office worker; Donald Sutherland as a businessman; musician Chan Marshall (who goes by the stage name Cat Power) as a postal worker; New York City street drummer Ryan Donowho as a bike messenger; and musician and actor Seu Jorge as an electrician. The Sleepwalkers Box is Doug Aitken’s groundbreaking multi-screen film reimagined as a tactile multimedia experience. By placing the story fragments, characters, and imagery from Sleepwalkers directly into the hands of his audience, Aitken creates an exciting new interactive work made of compelling material that can be combined, juxtaposed, and experienced in any order. Taking its cue from multimedia artist editions of the past, this beautifully designed, limited edition artist’s box contains an assortment of media related to Sleepwalkers: A one-hundred-page visual diary of the making of the film that includes sketches, production photos, filmstills, script fragments, and collections of found inspirational images; a 12" clear vinyl picture disc with specially designed optical artwork that comes to life when spinning at 33-1/3 rpm--the musical performances on this record were recorded during a "happening" staged at MoMA tocelebrate the original opening of Sleepwalkers; a double-sided poster that unfolds to twice the size of the box; two flipbooks containing motion sequences excerpted from the film and images of the film’s screening in the context of the museum facade; a CD containing Doug Aitken’s soundtrack for Sleepwalkers, including tracks by Broadcast, Bibio, Steve Roden, and Tim Hecker; a DVD capturing the viewer’s experience of Sleepwalkers in a street level walk-through.

"Original filmscript"--T.p. verso.

"»Water-Yam« is a box containing [..] cards on which instructions, events, or single thoughts are printed in black lettering. Visitors and performers are free to interpret the events and implement the instructions in any way they choose, and the index cards are not organized according to a particular hierarchy."--from ZKM

The Big Book by Alison Knowles was an eight-foot tall walk-in construction. It comprised a title page and eight moveable pages anchored to a metal spine. It was possible to leaf through the individual pages that were equipped with casters. Each page had an access point to the next page, opening up different spaces between the pages in which the readers could spend some time. The book contained a stove, a telephone, a bed, a chemical toilet, a library, a guest book, a gallery with art works by artist friends, a lush meadow, a ventilator and other utensils in the spaces between the pages. The book was constructed in such a way that it could be packed into two crates for shipping purposes. It was given its first public airing in 1967 at the Something Else Gallery in Chelsea, New York.

Performance instructions by Alison Knowles.

An all-blank book (other than the cover graphic) that features physical alterations to each page.

The Other Rooms is a sequel to Yoko Ono’s Grapefruit. Matching the compact size of Grapefruit and bound in white cloth, The Other Rooms was conceived as a series of rooms that unfold the story of, in the words of the artist, “the life of a woman seeing through the eyes of her son.” On page after page, or room after room, Ono walks the reader through her unique expression of motherly Utopian pedagogy, providing observations and instructions.

The Great Bear Pamphlet series, originally published by Something Else Press between 1965 and 1967, was compiled and re-printed in 2007. It includes work by Ay-o, Philip Corner, W.E.B. DuBois Clubs, Oyvind Fahlstrom, Robert Filliou, John Giorno, Al Hansen, Dick Higgins, Allan Kaprow, Alison Knowles, Nam June Paik, Diter Rot, Jerome Rothernberg, Worlf Vostell, Robert Watts, Emmett Williams.

"Dating from the mid-1950s to the early 1980s, the writings gathered in this volume shed light on some of Schneemann's most important artistic achievements, including her most famous 'kinetic theater' piece, 'Meat Joy'; anti-Vietnam War works such as 'Snows'; the multimedia performance 'Up to and Including Her Limits'; and the double-screen film 'Kitch's Last Meal'." -- Provided by Publisher

"Womens work was a magazine edited by Alison Knowles and Annea Lockwood that featured text-based and instructional performance scores by twenty-five women artists. Issue 1 (1975) was a thirty-six-page booklet and Issue 2 (1978) was a foldout poster. Both issues are included here in facsimile form"--Portfolio.

die-cut pages from children’s comics and coloring books

A collection of writings, poems, plays, games, and correspondence culled from the notebooks of George Brecht and Robert Filliou, artists who, at the time of the book's publication, lived in France, where they ran a storefront gallery and research space, La Cédille Qui Sourit (the Smiling Cedilla). Located in Villefranche-sur-Mer, near Nice, La Cédille Qui Sourit was a convivial collaborative space that the artists claimed handled "everything which does or does not have a cedilla in its name." Operating on the principles of a gift economy, it presented the works and ideas of an international network of friends and collaborators and is a prime example of the collective, anti-commercial Fluxus activities of the 1960s

Originally designed as a set of 92 postcards, this is the first reproduction in book form. Dedicated to George Brecht. Short "Introductions" by Brecht, William Burroughs, Christo, Diane di Prima, Brion Gysin, Allan Kaprow, Nam June Paik, Diter Rot, and others. Questions such as "are smiles sexy?" "why eat so much meat?" "how big should your harem be?"

Comprised of separate contributions from four artists, the sections contained within this book relate to each other through their position outside of “the conventional concept of the seven arts” in aesthetic practices devised by the artists. Alison Knowles’ section evolved from her performance piece #8 in a verbo-visual exploration of the letter “T” that unfolds through graphic arrangements involving teeth, trunks, and altered dictionary pages. Benjamin Patterson gathers together pseudo-scientific notes, which formulate a theory and process for a program of Perceptual Education Tools. Tomas Schmit offers a selection of instructions for performance pieces including an encyclopedic theatre and a set of options to act on instead of reading this book. Finally, Philip Corner presents texts and drawings that relate to musical performance for the piano and groups of musicians, pushing the boundaries of traditional musical notation and composition.--printed matter

The writings of Claes Oldenburg printed in Store Days consist of fragments, notes, philosophical observations, and scripts, dating from the Store of 1961 and the Ray Gun Theater of 1962. As he sketches his ideas, Oldenburg does not outline a coherent theory so much as he suggests an attitude toward theory. He thinks abstractly: “I operate, idea-wise, far above the ground,” but he counters the abstractions with an earthy factualness: “I have a compulsion . . . to relate myself to what is on the ground” (62). An example of dry intellection is the formula, “my art is a resolution of opposites: strives for a simultaneous presentation of contraries/opposites” (54), and this is followed by five pairs of opposites followed by etc. The etc. implies that such a theory has its own uninteresting momentum and meets too little resistance from the facts. Elsewhere he spurns theory entirely: “Evanescence is not just a theory, it is part of me. Come and go. Nothing I do is a theory but is me” (53). The work of other artists is seen as theoretical (Dine, Kaprow), and therefore different from the works of Oldenburg, who in this book offers theories of life, art, commerce, education, etc. etc. etc.!

Anecdoted Topography of Chance is a unique collaborative work by four artists associated with the Fluxus and Nouveau Réalisme movements. Following a rambling conversation with his friend Robert Filliou, Daniel Spoerri one day mapped the objects lying at random on the table in his room, adding a rigorously scientific description of each. These objects subsequently evoked associations, memories and anecdotes from both the original author and his friends Filliou, Emmett Williams, Dieter Roth and Roland Topor. Many of the principal participants of Fluxus also make an appearance (texts by Higgins, Jouffroy, Kaprow, Restany and Tinguely are included, among others). An Anecdoted Topography of Chance is an archaeological game, a poem to the arbitrary, an encyclopaedia, and above all else, a celebration of friendship and creativity. The Topography personifies and predates the spirit of Fluxus and constitutes one of the strangest and most compelling insights into the artist’s life. From the banal detritus of the everyday a virtual autobiography emerges, of four perceptive, witty and exceptionally congenial artists.

Printed in a tabloid format in red and yellow ink Evil People in Modernist Homes in Popular Films offers a serious but lighthearted investigation of the representation of Modernist architecture in popular film, reflecting on the convention of associating evil characters and events with Modern buildings, and also, more generally, on the relation between cinema and architecture.

In the late 1990s, Michael Kupperman bought a stack of men's magazines from the 1950s and 1960s. On examining them, he discovered that their original owner had tampered with them, using the contents to form his own hybrid magazines. This reordering, censoring and selecting, made the sensation-crazed originals even stranger. Pirate Nightmare Vice Explosion presents highlights from that collection, and takes place in a murky, monochromatic world where mysterious, energetic sin is always happening behind closed doors. Some of it is factual; some of it smells of heady invention.

Photon #027, Horror of Dracula

A horror film fan magazine published since 1979.

"Addressing the unique social, political, and economic context for universities and academia in Vancouver, British Columbia, this publication is part of Muntada's residency through the Audain Visual Artist in Residence Program at the School for Contemporary Arts at Simon Fraser University and is realized in partnership with Line magazine and the Audain Gallery. About Academia adds to the work initiated by Muntadas' original project, About Academia, which was produced through the Art Forum program at the David Rockefeller Center for Latin American Studies at Harvard University in 2011"--Page 3.

Edition of ten.
All the illustrations in the book have been screen printed with gold metallic ink on BFK Rives (280gsm) paper. It is a hand bound accordion book finished with screen printed book cloth.
"Cheng Foo, based on a found taped interview, is a book about a former Chinese railroad worker. He arrived to Canada in 1881 to work on the railroad; he worked the western section of the railroad for nearly 5 years and worked until he couldn’t stand it anymore. After that, Cheng Foo settled in the interior town of Yale, BC and opened a small grocery store, which sold Chinese foods and provided basic lodging to Chinese passing through Yale. Cheng Foo always wanted to return to China, but was not able afford the journey home."--provided by artist

"Coming Soon! documents Diyan Achjadi’s 2018-19 public art project for the City of Vancouver. The project was a site-specific interrogation of questions of value, temporality and labour. Each month for the period of one year, Achjadi produced a series of hand-printed posters and installed them onto the structures surrounding construction sites throughout the city, mirroring the landscapes around new developments themselves. Over the course of that time the posters--hand-drawn and hand-printed through laborious processes of silkscreen, etching, lithography and polymer plate relief--accumulated and, left to the effects of the elements and actions of passersby, decayed, were transformed by graffiti and even removed"--CAG website.

Originally created in 1977 as a single handmade copy, Dara Birnbaum's Note(s): Work(ing) Process(es) Re: Concerns (That Take On/Deal With) gathers 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 'Notebooks, Workbooks, Scripts, and Scores' at 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. 'Note(s)' provides 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 Technology/Transformation: Wonder Woman and Kiss the Girls: Make Them Cry, in which she appropriates popular television programs to critique the language and images of networked television.

Brooklyn-based artist Jessica Vaughn primarily works with discarded and mass-produced materials to create artworks that convey the complex histories of place, production, and use. Assembling open-source US government documents, print materials of the HR industry, and photographs of banal office spaces from Vaughns own work history, Depreciating Assets explores labor, diversity politics, and the material environment of the workplace, and specifically how modular architecture is an outcome of neoliberal labor policy.

"Alongside the exhibition, Onomatopee will publish Entreprecariat by Silvio Lorusso, with a preface by Geert Lovink and a postface by Raffaele Alberto Ventura. The book, which will be launched this fall, explores and maps out the current entrepreneurial ideology from a precarious perspective. The Entreprecariat indicates a reality where change is natural and healthy, whatever it may bring. A reality populated by motivational posters, productivity tools, mobile offices and self-help techniques. A reality in which a mix of entrepreneurial ideology and widespread precarity is what regulates professional social media, online marketplaces for self-employment and crowdfunding platforms for personal needs. The result? A life in permanent beta, with sometimes tragic implications."--Onomatopee.net.

While studying to complete her MFA, Tiffin Breen worked as an escort as means to support her living and education. This work investigates ideas surrounding education, intimacy, communication and takes the form of a social document as well as narrative story.

"‘Manual Labours’ is a long term research project exploring people’s physical relationships to work, initiated by Jenny Richards and Sophie Hope. This project reconsiders current time-based structures of work (when does work start and end?) and reasserts the significance of the physical (manual) aspect of immaterial, affective and emotional labour.’"--Project's website.

"‘Manual Labours’ is a long term research project exploring people’s physical relationships to work, initiated by Jenny Richards and Sophie Hope. This project reconsiders current time-based structures of work (when does work start and end?) and reasserts the significance of the physical (manual) aspect of immaterial, affective and emotional labour.’"--Project's website.

"Over a period of three weeks, Brady Cranfield and Jamie Hilder painted the Or Gallery white forty-five times. This LP documents the combined final hour of each of their fifteen shifts"--from LP cover.

"Non-Regular is a collection of stories, analysis, interviews and visual art concerned with the state of contract (sessional) teaching at Emily Carr University. Edited, designed and co-authored by a student, it consists of contributions by 28 instructors and artists speaking frankly (and largely anonymously) about the conditions of their labour. Topics include: teaching as low-wage work; job security; respect and the value of art(ists); maintaining professional practices; the politics of space at the new ECU campus; impacts on students; the role of tenured faculty; and the erosion of academic freedom and integrity. We also consider how these conditions are exacerbated by and amplify gender and racial bias within academia." -- T. Poirier

"My text borrows extensively from Sol LeWitt's Paragraphs on Conceptual Art. I altered his text in order to speak of my art practice. LeWitt's Paragraphs, written as a collection of fragments, speak of artistic intentions rather than defining a final outcome. This poetic, formal dimension of his writing that frames artistic practice as an open ended endeavor appeals to me greatly. Though LeWitt chose a different way of working, he had tremendous appreciation for manual labour and handmade art as his decade-long correspondence with his friend, Eva Hesse[...]For these reasons I adopted Sol LeWitt's text as a model for my writing"--Back page of work.

"What kinds of strategies might artists employ to create a sense of agency when it comes to artistic production? What are the key questions artists should ask themselves in seeking to define standards for valuing their labor? Standard Deviation addresses these questions so that artists might identify the kinds of opportunities that serve their artistic goals and help them sustain viable practices over time. The printed broadside functions as a tool to generate public awareness and as an aid to personal conviction. It uses the imagery of a hand as a mnemonic device for five key questions artists can ask themselves when presented with exhibition opportunities. It also includes a Request for Funders form, a flow chart to help answer the question, “Should I work for free?” and symbolic currency whose exchange is intended to acknowledge volunteer labor."--Art Practical website.

"While these large surface rubbings [floors, walls, and windows] look very much like abstract drawings they are actually a curious hybrid of objective mechanical copying and subjective image making... handmade rubbings were photographed, separated into digital files and then randomly reassembled before being converted to analog photo lithographic plates and printed on an offset press. ... a mechanical recording process was employed and a system of production designed to produce subjective results. In this case however, the final active element was a Heidelberg offset printing press rather than Sam."--inside front cover.

The impetus for this publication came from a desire to shed light on an often-overlooked part of the art world: the cultural worker. Here, the term 'cultural worker' refers to curatorial, organizational, administrative, and technical staff from artist-run centres, art galleries, museums, and other arts organizations. The Survey for Cultural Workers was created to gather information into the everyday issues and challenges these workers face, and provide insight into their expectations, motivations, work relationships, and more. Art workers across Canada and the U.S. were invited to complete the survey online. Questions were deliberately kept informal to encourage more candid, anecdotal responses, and respondents' anonymity was ensured.

The Binder and the Server is the outcome of several group discussions among Triple Canopy editors, and was written by senior editor Colby Chamberlain. The essay details the history of Triple Canopy in order to stake out our position on the ideology of Internet culture. By carefully examining the history of new-media publishing and the shift from disciplinary to control societies, the essay addresses the politics of online identity, friendship, labor, and the dream of digital democracy. In short: On the Internet, we are all contractors.
This pocket-sized edition of The Binder and the Server, designed by Franklin Vandiver, draws on experimental paperbacks of the 1960s, chief among them the collaborations of Marshall McLuhan and graphic designer Quentin Fiore. The book is characterized by cinematic layouts that merge text, typography, illustration, photography, and original artwork by Josh Kline and Dan Torop. -- triple canopy website

365 Days of Invisible Work is a compendium of political representations of domestic work collected by the Domestic Worker Photographer Network, an online community of amateur photographers made up of migrant workers, gardeners, dishwashers, artists, teachers, and many more. Organized as a calendar, 365 Days of Invisible Work, is dedicated to making visible the myriad lavours negated by oppressive capitalist structures by highlighting the daily work of cleaners, mothers, interns, care-givers, and many more."

"Egyptian uprising called for democratic reform. Tahrir Square in Cairo became the focal point and the most effective symbol of the protests in January and February 2011. For 18 days Egyptians repeated the slogan: The People Want to Bring down the Regime (al-sha`b yurid isqat al-nizam) until the regime stepped down on the 11th of February 2011. "This book focuses on the revolution slogan 'al-sha`b yurid isqat al-nizam.' Using Arabic Kufic script the words of the slogan are repeated in an ascending sequence. Section 19 contains the English translation for the slogan 'The People Want to Bring down the Regime.' The last section contains the time and date when the regime stepped down along with the sentence 'Al Saa'b Askat al Nezam' with its English translation 'The People have Brought down the Regime'. "Cairo's map is laser engraved on the book covers. Three edges of the book are colored then laser engraved to show the streets of Cairo."--artist's website.

"The Daimler Art Collection Artist Book #7 has been realized in collaboration with Cao Fei, one of the most internationally high‑profile artists in China. This publication brings together three key projects from the artist’s varied filmic oeuvre. With the highly complex virtual RMB City project (2007-2011) and its documentation, our book presents her recent films Haze and Fog (2013), and La Town (2014). Cao Fei’s artist book, which is lyrically entitled I watch that worlds pass by demonstrates commonalities in the three projects’ subject matter, and creates interfaces between them, with the aim of elucidating the artist’s most fundamental thinking and working methodologies. Numerous stills from the various different films, photographs of the sets, sketches, storyboards, and illustrations for reference have been assembled, and have been given a new arrangement by the artist for this publication. This publication was created in close collaboration with Wang Xiaoyu from “The Pavilion”, the publishing entity of the gallery Vitamin Creative Space."--provided by publisher

"With Blind, French conceptual artist Sophie Calle (born 1953) revisits three earlier works constructed around the idea of blindness. In “Les Aveugles” (“The Blind”), created in 1986, she questioned blind people on their representation of beauty; in 1991, in “La Couleur Aveugle” (“Blind Color”), she asked blind people about their imagination of perception and compared their descriptions to artists’ musings on the monochrome; “La Dernière Image” (“The Last Image”), produced in 2010 in Istanbul, involved questioning people who had lost their sight on the last image they could remember. By establishing a dialectic between the testimonies of several generations of blind people and Calle’s photographs based on these accounts, the artist offers readers a reflection on absence, on the loss of one sense and the compensation of another and on the notion of the visible and the invisible."--provided by publisher

"Le fond de l’air est rouge [The Essence of the Air is Red] is a collection of texts about the 2012 Quebec student uprising by Montreal artist and activist Stefan Christoff. Written between spring 2011 and summer 2012, this series of articles includes first hand accounts of the incredible street protests in Montreal and reflections on the student strike within the context of Quebec revolutionary history."--provided by publisher

"Sudanese artist, writer, critic, and cultural diplomat Ibrahim El-Salahi (born 1930) is one of the critical figures of African and Arabic modernism. While serving as Sudan's Undersecretary of Culture in 1975, El-Salahi was imprisoned without trial and endured six months of deprivation in the notorious Cooper (now Kober) Prison. During a period of house arrest that followed, he exorcised his experience in the Prison Notebook, an intensely personal work that is both a major historical document and a masterpiece of drawing, its pages filled with remarkable pen-and-ink drawings that demonstrate the artist's graphic mastery. This bilingual English-Arabic volume, published by The Museum of Modern Art and the Sharjah Art Foundation, comprises a facsimile of the Prison Notebook (recently acquired by MoMA); an English translation of its prose; a contextualizing essay by art historian Salah Hassan that addresses the social and political milieu in which it was produced; and contemporary commentary by the artist."--Publisher's description.

"About Trees is an artist book by Katie Holten. It will be the first book in BDP's new series: Parapoetics - a Literature beyond the Human. Holten has created an alphabet from her tree drawings and made a new typeface called Trees. Registering a crisis of representation, About Trees considers our relationship with language, nature, information, drawing, ecology, memory, systems, and time in the Anthropocene"--Publisher's web site.

The artist’s book Ki-da Rilke evolved in relation to the exhibition “Line Wall” by Sung Hwan Kim. In the book, Kim engages with the work of the Prague born poet Rainer Maria Rilke (1875–1926). The first part of Ki-da Rilke features a transcription and drawings of Rilke’s collection “New Poems” (1907) in the German original and on thin sheets of paper and notepads. The second part features Kim’s drawings inspired by Rilke’s “Sonnets to Orpheus” (1923), which are then further developed in the book’s third part, which comprises an independent picture story featuring recurring characters. These figures are named in an index on loose sheets of paper. - Kunsthalle Basel website

"Ohama’s hand-bound, limited edition book of poetry is dedicated to the artist’s grandmother and to the burgeoning relationship between them as the artist attempts to learn Japanese. An investigation of the artist’s cultural background, her family’s history, and the desire to communicate, the book includes a glossary of Japanese words and phrases."--from e-Artexte

"Slavs and Tatars presents "Molla Nasreddin: The Magazine That Would've, Could've, Should've." It features a selection of the most iconic covers, illustrations and caricatures from the legendary Azeri satirical periodical of the early 20th century, "Molla Nasreddin." The most important publication of its kind, "Molla Nasreddin" was read across the Muslim world from Morocco to Iran, addressing issues whose relevance has not abated, such as women's rights, the Latinization of the alphabet, Western imperial powers, creeping socialism from Russia in the north, and growing Islamism from Iran in the south. "Molla Nasreddin" not only contributed to a crucial understanding of national identity in the case study of the complexity called the Caucasus, but offered a momentous example of the powers of the press both then and today."--provided by publisher

"In celebration of their tenth wedding anniversary, Song Dong and Yin Xiuzhen collaborated in their first joint exhibition. The catalogue is divided into three mini-books. Two parts explore the careers of the artists, Song Dong and Yin Xiuzhen, separately, while the third part shows works from Chopsticks, their first partnership in an exhibition. Photos and informative clippings are included to show the progression of their lives separately as well as together. Introduction by Wu Hung."--from Chambers Fine Art website

Catalog of exhibition, May 14-21, 1973.

"Xu Bing spent seven years gathering materials, experimenting, revising, and arranging thousands of pictograms to construct this narrative. The result is a readable story without words recording 24 hours in the day of the life of a typical urban white-collar worker. Using an exclusively visual language, the text could be published anywhere without translation"--Back cover.

"A contemporary art book utilizing black comedy juxtaposed with historical Asian woodblock collages. The work joins two distinct threads of disparate cultures and histories--Confucian virtues and black humour--inquiring into contemporary ideologies such as patriarchy and technological determinism."

Summary: "This box is the residue of mail art activity during the years 1996-1998. In keeping with the project theme, all of the items meet two criteria: the creators identified them as "books" ; and, their creation was enabled by some kind of "collaborative" process. Each book item is labeled with a catalogue number that corresponds to information about it in the box's index, as well as in the original exhibition catalogue. The twenty boxes making up this edition of Renegade Library include the items of the original exhibitions that survived its years as a mail art lending library (1998 to about 2002), and additional items that were contributed immediately following the exhibition. These boxes are being located in publicly accessible collections of artists books throughout Canada and other countries."--Lois Klassen, accompanying documentation.

"G.P.O. versus G.P-O is a publication of Genesis P-Orridge's collection of materials surrounding Great Britain's General Post Office's case against him for disseminating pornographic material through the mail in 1975. These postcards incorporated confrontational images with images of the Queen. When the Post Office made their case against P-Orridge, it became an opportunity to turn the case into another performance. G.P.O. versus G.P-O collects ephemera, legal documents, correspondence, and articles about the case and mail art. Genesis P-Orridge is an artist, musician and performer who founded the performance group, COUM Transmissions in 1969. They were active until 1976 when they mounted their controversial exhibition, Prostitution, at the Institute of Contemporary Art in London. G.P.O vs. G.P-O is a reprint of Ecart Publications' 1976 edition." --Publisher description.

In this book, Doris Sommer, Director of the Cultural Agents Initiative at Harvard University, proposes an array of semantic neologisms in order to understand the new dynamics of our constantly accelerating world by questionig ways in which to create new ideas and new construction tools. It is a double invitation: on the one hand, it develops definitions that articulate an interdisciplinary lexicon, and on the other, it suggests missing words. It is vital for the new lexicon’s intuitions to move into public discourse. --publisher's website

If Newton lived in these dark days he would probably reformulate his laws following the formula of Accelerationism. By nature, manifestos are linked to time, build upon a time. For Alex Williams and Nick Srnicek, time is a raw material that can only be released from its obligations and contracts by means of acceleration. - Gato Negro Ediciones.

Yale Union publishes a new edition of Yutaka Matsuzawa’s groundbreaking book, Quantum Art Manifesto. Long out of print, this is the first edition made available outside of Japan. It is printed in an edition of 500 at Yale Union’s in-house print studio and includes the original Japanese text, the original English translation (with minor edits), a foreword by Haruo Matsuzawa, and an essay by Reiko Tomii. --publisher's website

"Black Art Notes is a collection of essays edited by artist and organizer Tom Lloyd. Originally published in 1971, the book was conceived as a critical response to the Contemporary Black Artists in America exhibition at the Whitney Museum of American Art but grew into a "concrete affirmation of Black Art philosophy as interpreted by eight Black artists," as Lloyd notes in the publication's introduction"--https://primaryinformation.org/product/black-art-notes.

The Great Bear Pamphlet series, originally published by Something Else Press between 1965 and 1967, was compiled and re-printed in 2007.

Say Translation Is Art is a treatise on literary translation that exceeds the bounds of conventional definitions of such, advocating for a wider embrace of translation as both action and as art. In the ever-expansive margins of dominant literary culture, translation links up with performance, repetition, failure, process, collaboration, feminism, polyphony, conversation, deviance, punk, and improvisation. --publisher's website

Facsimiles of holographs from the Foundation for Contemporary Performance Arts, with text by 269 composers, but rearranged using "chance operations."

"Jeremy Deller's The Uses of Literacy was originally an exhibition of art works produced by fans of the Manic Street Preachers." -- from cover.

”An optimistic collection of eight loose-leaf color posters featuring song lyrics, I Just Know That Something Good Is Going To Happen… features Hundley’s text-based work.”--Exile Book’s website.

"The original stack of sheet music included in this book was found in Los Angeles in 2005. With the exception of an addition, the song titles remain in the order in which they were found."--Colophon.
"Selected Standards is produced as part of the exhibition 'Where Flamingos Fly,' curated by Elke Keiper for Stadische Galerie Waldkreiburg."--Colophon.

"Cyanotypes" documents six distinct series of cyanotypes produced by visual artist, performer, and composer Marclay in collaboration with Graphicstudio. Known as the inventor of "turntablism," Marclay has explored the relationship between visual and sonic phenomena through his work in collage, sculpture, installation, photography, video, and performance. In the cyanotypes, Marclay reclaims the obsolete technology of the audiocassette as a tool for visual abstraction. First developed in the 1840s, the cyanotype is cameraless photographic process performed by placing objects directly onto a photosensitive surface, resulting in a silhouetted image similar to a photogram. Commonly known as "blueprints" because of their distinctive Prussian blue hue, cyanotypes were famously used by 19th century botanist Anna Atkins and later by architects and engineers as a way of reproducing drawings prior to digital reproduction. Marclay's cyanotypes capture the abstract tangles made by unspooled cassette tapes, inviting comparisons with the paintings of Jackson Pollock and other 20th century artists. Designed by Swiss design firm NORM in close collaboration with the artist, the volume includes an in-depth study of Marclay's experimentation and utilization of the cyanotype process and its broader contextualization with the history of the avant-garde by scholar Noam Elcott.--jrp website

"Chasser Croiser // The Surreal and its echo is an unbroadcast radio sound piece which is linked to the publication of a book inspired by the artist's work ... This book is an echo of the sound work. It is composed of photos taken during tours, as both a DJ and a live musician ..."--P. [4] of cover.

Some years ago, Will Holder and Alex Waterman proposed to Robert Ashley that musicians and non-musicians might produce new versions of his operas, by way of typographical scores. The bulk ofYes, But Is It Edible? is a result of that proposal: scores for Dust (1998) and Celestial Excursions (2003). - new documents website

Section 1A. The eye of the storm -- sect. 1B. Guggenheim international, 1971 -- sect. 2. Buren before Buren -- sect. 3A. North America in review -- sect. 3B. Arts & leisure -- sect. 3C. Architecture -- sect. 4. Travel -- sect. 5. Classifies.

"Commissioned by Performa for Performa '09, the third edition of the New York City-based biennial of visual art performance, publishing imprint Dexter Sinister transformed BLANK SL8 (pronounced “Blank Slate”)—a “pop-up” hosting space facing the New York Times building and adjacent to the Port Authority terminal—into a fully-functioning press office, writing, editing, designing, and distributing a broadsheet newspaper across the city. During the three weeks of the biennial, Dexter Sinister invited writers, artists, and designers including Steve Rushton, Jan Verwoert, Rob Giampietro, Dan Fox, Walead Beshty, Jason Fulford, Sarah Gephart, Tamara Shopsin, Mariana Castillo Deball, and others to collaborate with The First/Last Newspaper, reflecting on the unstable condition of contemporary news and related medias.

"New York's Hometown Newspaper. Printed in an edition of 1000 on the first anniversary of '9-11', to reclaim my birthday on the same day. Based on an open editorial policy which aimed at confronting the media control of original 9-11 coverage, it included over 100 contributions on every possible subject, solicited from my friends and accepted as birthday gifts."--Aleksandra Mir.

"Printed in a tabloid format in red and yellow ink Evil People in Modernist Homes in Popular Films offers a serious but lighthearted investigation of the representation of Modernist architecture in popular film, reflecting on the convention of associating evil characters and events with Modern buildings, and also, more generally, on the relation between cinema and architecture. A series of texts point to examples in the James Bond films, Ridley Scotts Blade Runner, Ang Lees The Ice Storm, and many others, accompanied by plentiful film stills."--Publisher's website.

Artist's book is printed on newsprint and folded in half like a newspaper

Published in conjunction with an exhibition entitled "Sabine Bitter & Helmut Weber: right, to the city," with a comment by Jochen Becker, at the Landesgalerie Linz am Oberösterreichischen Landesmuseum, July 9-Sept. 13, 2009.

Edition of 200.
Staple bound, digital offset, 11 colour postcards, 5 black and white postcards, printed cardstock sleeve.
"Invisible Violence, brings together the work of four artists—Rebecca Belmore, Ken Gonzales-Day,Francisco-Fernando Granados, and Louise Noguchi—who use photography as a point of reference for histories of violence that inform a contemporary politics of representation. Their work intentionally covers, erases, withdraws or cuts apart the main subject of the photographs, delaying the recognition of the structural and systemic violence underlying each image. Taking this interruption as its starting point, the project asks that 'we'—the audience who are informed by contemporary mediascape riddled with images of violence—problematize the first person pronoun. As Susan Sontag writes, 'No 'we' should be taken for granted when the subject is looking at other people’s pain.'"--Publisher's website

"From a major developer of the architectural metaphor, a visually compelling mix of drawings, notes, and photographs, highlighting the artist's performance-oriented process of planning and constructing sculptural works, as well as her literary and cinematic influences. The first in a series of false cities. References: Franklin Furnace Archive Artists Book Bibliography, 1977-1979."--Printed Matter website.

"Published in an edition of 750 copies"--T.p. verso.
"A Field Guide to Weeds masquerades as a 19th century pocket guide, but a guide in which the weeds themselves have taken over. Becks innovative project uses the physical form of the book as a metaphor for a crack in the city sidewalk: printed in luscious five-color printing, the common dandelion, pigweed, and poison ivy-the very plants we ignore, step over, ignore, dig up, or scrupulously avoid-creep out of the gutter, up pages, and overrun the book. Multiple silhouettes overlap and repeat, drawing the readers attention to the overlooked. The book features a black silk ribbon marker. The thumbnail image shows a two-page spread from the contents of the book." Printed Matter.

“The Laundry Room is a project curated by Maiko Tsutsumi & Eduardo Padilha (BalinHouseProjects). The Laundry Room project features works by Richard Wentworth and Michael Marriott. The exhibition and an accompanying series of events were held in September/October 2012 at BalinHouseProjects. The project, inspired by Wentworth’s Making Do and Getting By, explored the recent transformation and cultural shifts in the Borough/Bermondsey area, through a series of events and dialogues. The exhibition, a display of Wentworth’s photographic work and an intervention by Marriott was created as a response to the physical and historical features of the location: the former laundry room adjacent to BalinHouseProjects, located in a 1930s housing estate. Texts by Eduardo Padilha, Maiko Tsutsumi, Michael Marriott, Richard Wentworth.” –Balin House Projects

"The fascination with Emma Kunz (1892 – 1963) has never been greater than it is today. Much that the researcher, healer and artist anticipated with her holistic way of thinking is now taken for granted in contemporary art. ‘My images are intended for the 21st century,’ Emma Kunz is once said to have predicted. The augury of the researcher, naturopath and artist from Brittnau in the Canton of Aargau seems to be coming true: Emma Kunz’s drawings, presented to the public for the first time in the Aargauer Kunsthaus in 1973, have been shown in such places as Venice, Munich, London, Tel Aviv and Hong Kong over the past few years, and are celebrated by an international audience. Living a secluded life far removed from the art scene, eighty years ago she exemplified an expanded concept of art, rejected the idea of art versus non-art and instead opened it up to a wide range of aspects – research, medicine, nature study and the supernatural, the magical, the visionary. Emma Kunz (1892 in Brittnau/CH – 1963 in Waldstatt/CH) was born into humble conditions in Brittnau in the Canton of Aargau. She never had any artistic training or higher education of any kind. Emma Kunz is said to have become aware of her special clairvoyant and radiaesthetic [radiation- reading] abilities at an early age. She began to heal her first patients and to work with the divining pendulum that she would use in her drawings from 1938 onwards. Until a few years before her death she produced some 500 characteristic drawings on graph paper, which she used as a tool for her healing activity. She also worked with numerology, researched in the field of herbalism and achieved a legendary series of healing successes. At this time she began to ask her acquaintances to call her ‘Penta’. In 1942 Emma Kunz is said to have discovered Aion A, the healing rock that is still available from Swiss pharmacies, in a quarry in Würenlos that had been used since Roman times – and is known today as the Emma Kunz Grotto."--Nieves website

1-color offset printed. Printed in edition of 1000.
Summary, etc.:
”A collection of images made by Gluekit between 2002 and 2014. Gluekit's work investigates two- and three-dimensional spatial relationships, design motifs, fragments, the flexibility of language and representation, the intersection of handmade and computer-generated imagery, and the communication of complex ideas through simple graphics. Gluekit is the image-making studio of American designers Christopher Sleboda and Kathleen Sleboda. Since 2002, Gluekit's award-winning work has been featured in hundreds of magazines around the world and more than a dozen books about design and illustration.”--provided by publisher

Edition of 675.
"Content includes descriptions of child abuse, sexual assault and mental illness"
“SHAME SHAME, Go Away is written and illustrated by MacCormack, a Vancouver-based artist, activist and educator invested in queer politics, mental health, embodiment, and decriminalization. Dedicated to their late friend Mia Rose Cameron, a teenager who died by suicide, SHAME SHAME, Go Away shares MacCormack’s experiences to bring light to the impacts of childhood trauma on people’s mental health and the damaging effects of medical and [in]justice systems.”– Rebecca Casalino for FEMME ART REVIEW

"A story of psychoanalysis, being, and becoming-with. What happens and how do we cope in a world that separates us from our non-human kin?"--Printed matter.

A poetic look at a New York City billionaire art collector who owned the Sago Mine in West Virginia where 12 coal miners died in an explosion on January 2, 2006. Includes images and quotations from Rene Magritte, the Belgium surrealist"--AbeBooks

"While these large surface rubbings [floors, walls, and windows] look very much like abstract drawings they are actually a curious hybrid of objective mechanical copying and subjective image making... handmade rubbings were photographed, separated into digital files and then randomly reassembled before being converted to analog photo lithographic plates and printed on an offset press. ... a mechanical recording process was employed and a system of production designed to produce subjective results. In this case however, the final active element was a Heidelberg offset printing press rather than Sam."--inside front cover.

Folded poster pasted into cover. Offset printed. Fifteen black and white images of pages from Edward Ruscha's "Various small fires and milk" being burned.

"Amber Albrecht's work is rooted in magic, folklore, and postfeminist neo-romanticism. An entry in the Petit Livre imprint of accessible art books, Idyll comprises a series of paintings, screen prints, and drawings." -- Drawn & Quarterly Website.

"Part artist's book, part exhibition catalog, this book chronicles Tauba Auerbach's multimedia syntheses of abstraction, science, graphic design and typography. Published in conjunction with the first major survey of the artist's work, this volume, designed by Auerbach in collaboration with David Reinfurt, spans 16 years of her career, highlighting her interest in concepts such as duality and its alternatives, interconnectedness, rhythm and four-dimensional geometry. Images of more than 130 paintings, drawings, sculptures and artist's books created between 2004 and 2020 are mirrored by a comprehensive selection of related reference images, illuminating her multifaceted practice as never before. Essays by Joseph Becker, Jenny Gheith and Linda Dalrymple Henderson provide further context for the work. The book contains original marble patterns created specially for the book by the artist on both the endpapers and the edges of the book block. "-- ArtBook.com.

Eli Bornowsky has been practicing as an artist in Vancouver over the past decade and has accomplished an impressive and diverse body of abstract paintings. The exhibition catalogue features a number of large canvas ‘doubles’ which mirror each other with their almost-but-not-quite identical forms. Bornowsky explores the polyrhythmic textures of landscape, Renaissance painting, the artist’s studio, colour, Abstract Expressionism, doubles, and Cubism. With transcribed texts and email exchanges between artist and curator, as well as an artist’s statement.

"Vern Blosum does not exist. The story can be told simply: in 1961 an artist paints five canvases inspired by pages in a horticulture book; then came parking meters, water hydrants, and animals. Some of them were shown at Leo Castelli Gallery, sold to collectors and public institutions, included in seminal exhibitions or books on Pop art—a seemingly normal progression in an artist's career, were it not for a rumor that emerged regarding his true identity. Alfred H. Barr, the legendary director of MoMA, started to worry about the rumor sometime in 1964 and, after extensive inquiries, came to the conclusion that Vern Blosum did not exist. His paintings were taken down or sent back to storage, and the artist's name fell into oblivion. Vern Blosum does not exist, but his work does. This book retrieves the oeuvre of this particularly elusive artist."-- Provided by Publisher.

"For this project, I was looking for people in history with whom I can personally identify—people who were assigned female at birth, had documented relationships with women, and whose gender presentation was more masculine than feminine. I searched for people from diverse ethnic, societal, and geographic backgrounds, and who were born before or around the turn of the twentieth century. Some of my subjects identified as women, others as men; some shifted between gender presentations throughout their lives, while others embodied both simultaneously. I use the narratives of their lives to establish their place in this project. Though some could be identified today with the terms “lesbian,” “transgender,” “nonbinary,” “genderqueer,” etc., these myriad LGBTQIA terms were not available to them during their lifetimes. Since it is impossible to know exactly how each person would self-identify using today’s terminology, I view this project as an ongoing effort to document a shared history within the LGBTQIA community." -- Artist's Website

Published in conjunction with Documenta(13), held June 9-Sept. 16, 2012.

"Only those who love colour are admitted to its beauty and immanent presence. It affords utility to all, but unveils its deeper mysteries only to its devotees." - Johannes Itten. 'On Colour...' draws on the theories of colour harmony that Johannes Itten taught at the Bauhaus, and on the literature of Mazdaznan, Rosicrucianism and Theosophy. It describes how one can, potentially, produce the white cloud of invisibility and documents the author's own attempts to manifest the cloud. These manifestations have a complex group of antecedents that include Lawrence Weiner's early spray-painted works, John Latham's One Second Drawings, Robert Irwin's luminous disc paintings of the 1960s and representations of the ineffable made by spiritualists and occultists.

"With this publication, American painter Wade Guyton (born 1972) brings his conception of painting and its reproducibility to the book format. He first had the volume designed, then printed it on the same ink-jet printers he uses for his large-format serial prints on canvas; these pages were then scanned and printed by offset." -- Provided by Publisher

"For this artist's book, Wade Guyton (born 1972) decided to print a large-format painting on a 1:1 scale, recomposed across 360 pages. Flipping through the pages, the reader encounters the fragments of a unique work, which might potentially be reconstructed by joining the pages together. This book constitutes a reflection on questions of reproduction, the original, the source and the act of re-formation at the heart of Guyton's practice. If it can be said that Guyton's minimalistic 'paintings,' which connect directly to the history of abstraction, conjure a restructuring of modernist art and design, Wade Guyton: WG3031 offers a mise en abyme of these procedures. This book is published in a limited edition of 700 copies."-- Vendor's Website.

"Artists' book / exhibition catalogue published in conjunction with show held at Lisson Gallery, London, October 10 - November 17, 2007. Exhibition consistined of a "new body of work reflecting on the practice of painting. For Wet on Wet Graham adopted the eccentric persona of the 'gifted amateur,' a recurrent figure in his recent work. He presents 22 oils and one acrylic work in a variety of styles, placing painting in the context of a post-medium practice. The catalogue takes its title from a series of recent heavy impasto abstractions, also displayed as part of the exhibition. The paintings re-discover classical modernist tropes without obvious irony." --Publisher's Statement.

Ferns and palms accompanies Los Angeles-based artist Sam Falls' (born 1984) first solo museum show at the Pomona College Museum of Art. The book includes his signature weather-driven paintings and a new site-specific outdoor sculpture composed on an altered pickup truck filled with succulents.

Catalogue of an exhibition of a collaborative painting and etching project, held at Deitch Projects, New York, N.Y., March 29-April 28, 2007; the exhibition was originally organized by RS&A Ltd., London, under the title, "With the artists", in 2006.

"Peaceable Kingdom is the first book of collaborative work by the two American artists Chris Johanson (1968, San Jose) and Jo Jackson (1972, Springfield), partners in life and art, now living between Portland and New York." "All paintings feature a mix and match of both artists' styles, from Johanson's political, social themes and color patterns, to the oneiric, provocative and ambiguous side of human identity represented by Jackson's softer tones. Each painting being none like the other, and showing an incredible combination of shapes, forms, colors and ideas through a fascinating imaginary world, almost childlike." -- Book Jacket.

Ourselves reproduces a series of portraits by the popular manga artist Yuichi Yokoyama.

"The book features full color photographs, detail and installation shots of each painting as well as views of the entire space at 356 Mission. This beautiful book has a linen silk-screened cover with California classified ads featured in the paintings and a clear vinyl slip-cover silk-screened with the title and other elements from the paintings."-- Provided by Publisher

American painter Sarah Crowner (born 1974) revisits the art historical legacy of abstract painting in a language of collage and domestic craft, piecing together gorgeous geometric abstractions and vibrant color fields out of stitched-together cloth fragments of different colors...Sarah Crowner: Patterns is the second artist's book in a series that Crowner has been developing around the formal aspects of her painting practice; the first was 2012's Format. In this publication, Crowner devotes her attention to patterns from a range of sources: from those found in nature and the built environment to fashion and the plastic arts. Juxtaposed throughout this selection are images from Crowner's recent work, specifically her recent paintings, murals and tiled floors.

"While shopping in the used-book store the Monkey's Paw in Toronto, Leanne Shapton happened upon a 1956 edition of the government reference book The Native Trees of Canada, originally published in 1917 by the Canadian Department of Northern Affairs and National Resources. Most people might simply view the book as a dry cataloging of a banal subject; Shapton, however, saw beauty in the technical details and was inspired to create her own interpretation of The Native Trees of Canada. Shapton distills each image into its simplest form, using vivid colors in lush ink and house paint. She takes the otherwise complex objects of trees, pinecones, and seeds and strips them down into bold, almost abstract shapes and colors: the water birch is represented as two pulsating red bulbs contrasted against a gray backdrop; the eastern white pine is represented by a close-up of its cone against a radiant summer sky." -- Artist's Website

"Ital Thai Chinese and Paint is a compilation of the first collaborative work by Zuni Halpern and Erik Steinbrecher. The booklet shows montages of photographs and paintings. All the photographed advertisings are collected in the streets. The paintings on paper are studio works. Both materials, views of fusion food and plates of abstract designs are melted. These "painted meals" can be considered as ornaments in the urban context of fast gastronomy and catering." -- Provided by Publisher

"A series of paintings and illustrations derived from my interest in pear as a modest and humble object."-- Artist's Website.

Text on vellum paper

“Loes Veenstra began knitting wool sweaters in 1955 and has never stopped since. To keep her hands busy, she created literally hundreds of sweaters in all sort of distinctive colours, patterns, styles and sizes – all of which are photographed and included here…The sweater are part of a larger project, ‘DNA Charlois’, which involves materials and crafts by people from 160 countries” - English Summary (p.1)

An all-blank book (other than the cover graphic) that features physical alterations to each page.

"Bettina Krieg's complex and obsessively detailed pen-and-ink drawings reveal fragments of human existence, countless layers of ideas, images and feelings. This slim but elegant exhibition catalog includes multiple fold-outs and mylar inserts to accurately reproduce the young, Berlin-based artist's extraordinary ''narrative clouds,'' as curator Christian Ganzenberg describes them in one of several outstanding texts. He lauds the artist's ''exuberant richness of detail'' and the ''precise, almost Old Master-like alignment and the unusual saturation of the depths.'' Scrap-metal yards, destroyed cars, insects, birds, waterfalls, exploding machines, fish scales, tentacles, cells, cables: Krieg herself can barely describe her inspirations for these works which are at once abstract and figurative."--provided by publisher

Samples of various book structures made during ECI Continuing Studies Summer Workshop (CEBA 278) 2004. The class was taught by Claire Van Vliet.
5 unpaged, unsequenced handmade booklets in a box. 3 books have titles on their covers: (Compound frame), GIOIA 1, and Rise; 2 books have titles on inside: Deep in the territory and Gospels of Mary. Folded paper is included in some of the designs.

"A forest of fir in the middle of a city transported me to a space in which only I existed along with the tall trees that surrounded me. The diffused light that filtered through the canopies and made apparent the details of each tree, had a special quality of quietude and tranquility that I had never before experienced. I had found my place in the world, and it was here, in the quiet and slowness of nature"--Artist's website.

Artist created handmade book using package wrapping from various manufactures of rolled paper. The front and back covers and each page of the book are wrappers that identifies a manufacture's corporate identity.
Fake ISBN: PAPERWRAP. -- Provided by Read Books.

Both a photography and sculpture book, Titrer revisits Julien Nedelec’s minimalist art, bringing a sensitive touch to the game of shapes and shades of gray.

Summary: "The Sun’s Shadow, a version of which first appeared in the international comics anthology Lagon Revue, combines human and sculptural forms in an exploration of movement and stillness, isolation and harmony. A pointed use of color—black on white and blue on black—afforded by the Risograph process, along with an elegantly textured cover and loop-stapling, make Son Ni’s work an inviting and stylish object."--Printed Matter website.

"'BEACON - a pamphlet series in ten issues' focuses on how the commitment of artists' to wider social movements informs contemporary artistic practice. The series will feature texts by artists whose practices engage with language and visual arts."--Publisher's information.

"'BEACON - a pamphlet series in ten issues' focuses on how the commitment of artists' to wider social movements informs contemporary artistic practice. The series will feature texts by artists whose practices engage with language and visual arts."--Publisher's information.

"Baldessari re-animates gestures of Humphrey Bogart and Jean-Paul Belmondo from movie stills. These movements are so trademark as to be akin to Zorro’s Z. Inside this three part flip book, Belmondo rubs his lips in Jean-Luc Godard’s film Breathless, Zorro cuts the Z, and Bogey chuckles. The cover has Belmondo from Breathless looking at Bogart’s photograph."--Printed Matter, Inc. website.

"Teaching For People Who Prefer Not To Teach is a manual that fits in your pocket. "It's a messy collection of ideas: contributions our friends and colleagues sent us, our own learning experiences and rumours we heard. You might ask yourself who this manual is for. Is it for teachers? Is it for students? Is it only relevant for teaching art? The answer is: Yes and No. We don't know. Probably both. As self-employed artists, we have become used to performing our services anywhere, for anybody who books us. One day we might be doing a happy crafty afternoon in a primary school, the next day a post-graduate seminar on exhibition-making, the day after we're making soup for the reading group we organised. And our methodologies need to work in all of these contexts" (from the editor's notes).

"»Water-Yam« is a box containing [..] cards on which instructions, events, or single thoughts are printed in black lettering. Visitors and performers are free to interpret the events and implement the instructions in any way they choose, and the index cards are not organized according to a particular hierarchy."--from ZKM

"The Part of No Part was a collaborative performance artwork that took place from September 2012 to August 2013 in Vancouver Canada, organized by Dan Starling through 221A's Curatorial Residency Program"--page 5.

"Three Performances for Interior Spaces – text and images. Two Walking Performances in a City – text and images." -- Artist's Website

"La Centrale Galerie Powerhouse in Montreal puts art into the public sphere with TAKE OUT: performance recipes for public space. Twelve step-by-step performances by top performance artists printed on individual cards in both French and English and packaged in a box, ready to be performed in public outdoor spaces everywhere by you. TAKE OUT is about sharing, transmitting and experiencing, featuring recipes by Vida Simon, Essi Kausalainen, Colette Urban, Nathalie Derome & Anna Beaudin, Shawna Dempsey & Lorri Millan, Mara Verna, Tagny Duff, Johanna Householder, Suzanne Joly & Sylvie Tourangeau, Julie Andrée T, Pam Patterson, and Marie-Suzanne Désilets." -- 7a-11d.ca

"Crushed Guava Leaves is a multi-part project that explores transnationalism. It is the transnational African cosmopolitan lens applied to performance. It is performance as play, as identity, as politics, as language and as mannerism. It is a collection of experiential narratives primed for sound and movement, on stage and film. It is a collection of short stories – cultural snapshots – borne out of my memories, dreams, encounters, conversations, and observations. Each piece ranges in heft and weight, from detailed recounting to fleeting impressions. Yet all invite reflection on the canon of performance art – on what can be performed and what is valuable material for cultural performance. Crushed Guava Leaves is an invitation to immerse in an evocative textual and aural landscape inspired by my remembrances and of the beauty and tensions of African transnationalism."-- Artist's Website

First published in French in 1954 as Les Fondements du Judo. Presents instructions and illustrations for exercises within each of the six Katas, the movements that represent the foundation of modern judo.

"Directions for use: Read these flashcards in a linear fashion while drinking a glass of wine in bed alone or pull cards out at random and shout the words aloud in public in your most empowered voice or repeat each card one at a time over and over again until it no longer sets your insides alight with fear/anxiety/grief or lay out ten cards like a Celtic Cross tarot spread in attempt to experience a false sense of control over your future."-- backside of last card.

An all-blank book (other than the cover graphic) that features physical alterations to each page.

"First in a series of publications that will bring together instructions proposed by 'do it' contributors since the project's beginning (the exceptions being a few instructions imagined before 'do it' started by contributors who wanted to see the instructions republished in this context." -- p. 13 of v. 1.

Emily Goodden spent one year setting up drawing materials in situations where the drawings would be made by the determinations of chance. Her sleep drawing involved hanging Sharpies dangling from hooks on the ceiling. The Sharpies were poised over a long sheet of paper scrolled out from the wall. The other end of the strings were attached to the duvet. As the dreamer dreamed, her movements were conveyed by string and Sharpie on to the paper. Goodden's document, Sleep Drawing is a reproduction in book form of this one 16' long drawing.--http://www.perroverlag.com/dopa.html (retrieved Nov. 26 2015)

This publication documents a series of events, actions and performances staged in New York City between May and November 2007. An appraisal of current public art practice, it presents something of the dark humor and alternate critical desires of artists to reach out to the individual and suggest change through diverting the everyday flow and use of the city.

"Dating from the mid-1950s to the early 1980s, the writings gathered in this volume shed light on some of Schneemann's most important artistic achievements, including her most famous 'kinetic theater' piece, 'Meat Joy'; anti-Vietnam War works such as 'Snows'; the multimedia performance 'Up to and Including Her Limits'; and the double-screen film 'Kitch's Last Meal'." -- Provided by Publisher

"This publication is part of the series Collective Walks/Spaces of Contestation, curated by Mariane Bourcheix-Laporte, and accompanies a series of performances, public actions, lectures, and an exhibition presented by UNIT/PITT in 2013 and 2014 with the assistance of our presenting partners, SFU Institute for Humanities and SFU Vancity Office for Community Engagement."-- Colophon.

"Requiem for Mirrors and Tigers is a series of six documented video performances by Guatemalan artist Naufus Ramírez-Figueroa. This series of six videos on interrelated performances and were produced for the camera."--Grunt Gallery website.

"In 2016, choreographer and educator Suchi Branfman began a five-year choreographic residency inside the California Rehabilitation Center, a medium security state men’s prison in Norco, California. The project, dubbed “Dancing Through Prison Walls,” developed into a critical dialogue about freedom, confinement, and how we survive restriction, limitations, and denial of liberty through the act of dancing. The project abruptly ended in March 2020, when the California state prison system shut down programming and visitation due to Covid-19. The work was rapidly revised, and the incarcerated dancers—Brandon, Yusef, Richie, Landon, Carlos, Terry, Raymond, Angel, and Clinton—began sending out written choreographies from their bunks to the outside world.Undanced Dances Through Prison Walls During a Pandemic is the resulting deeply imagined work, written between March and May of 2020."--Sming Sming.

"Originally published in 1968 by Dick Higgins’ iconoclastic Something Else Press, the book can be viewed as a 170-page print version of an art performance piece. Just as Cunningham spent most of his career approaching choreography and movement in time and space from an original point of view, this book offers notes, images, and drawings of his work in a non-linear, non-traditional way. Taken together, they form a rich panorama of his ideas, work, and impulses, shown through a lens particular to the time and place of its initial publication." the-song-cave.com

"In a conversation that took place in August 2020, during a global pandemic and in the wake of mass uprisings across the US against systemic racism and police brutality, scholar and choreographer Nadine George-Graves and performance-maker and dancer Okwui Okpokwasili discuss ideas of collaborative practice, radical forgiveness, virtuosity, and community. Reflecting on Okpokwasili's and Peter Born's practice and installation from March 2020, Sitting on a Man's Head, the two women consider how art making reflects the kind of imagination of how one might live in the world, proposing modes of relation that are neither predatory nor transactional, but grounded in care. This conversation originally took part as an event for 50WomenAtYale150, and was co-sponsored by Yale Women, the Yale Alumni Association, and the Yale Black Alumni Association."--Publisher's website (viewed 2021 February 1).

Approx. 150 separate leaves with a self-contained narrative text on one side and a typographical design on the other. The leaves can be read in any order. Issued in a drop-spine box.

Based on Marthe Ramm Fortun's site-specific project at Grand Central Terminal, in New York City. A lyrical guided tour of Grand Central Terminal was part of a performance series for Performa 13, an international biennial for performance art in New York City.

In her monograph, 'An Occupation of Loss', artist Taryn Simon creates a detailed record of her years researching professional mourning, which culminated in a seminal performance at the Park Avenue Armory in 2016. During the installation, professional mourners from around the world simultaneously broadcast their lamentations within a monumental sculptural setting, enacting rituals of grief.

"Teaching For People Who Prefer Not To Teach is a manual that fits in your pocket. "It's a messy collection of ideas: contributions our friends and colleagues sent us, our own learning experiences and rumours we heard. You might ask yourself who this manual is for. Is it for teachers? Is it for students? Is it only relevant for teaching art? The answer is: Yes and No. We don't know. Probably both. As self-employed artists, we have become used to performing our services anywhere, for anybody who books us. One day we might be doing a happy crafty afternoon in a primary school, the next day a post-graduate seminar on exhibition-making, the day after we're making soup for the reading group we organised. And our methodologies need to work in all of these contexts" (from the editor's notes).

This book argues that, over the past 15 years, there has been a consistent deterioration of democracy in tandem with the establishment of the marketization and monetization of design education. Navigating difficult external political contexts in the middle of internal power struggles, college design courses seem to be incapable of challenging political, social, cultural and environmental phenomena with the urgency that all of these demand. Swallowed by an ever-rolling snowball of neoliberal educational models, small gestures do not produce the kind of radical change that design education and our catastrophic climate crisis needs for our survival. The fourth issue of Onomatopee's annual design criticism journal investigates the use of the word "radical" in design discourse and practice, exploring the challenges design universities face in responding with urgency to political, social, cultural and environmental struggles.

"Non-Regular is a collection of stories, analysis, interviews and visual art concerned with the state of contract (sessional) teaching at Emily Carr University. Edited, designed and co-authored by a student, it consists of contributions by 28 instructors and artists speaking frankly (and largely anonymously) about the conditions of their labour. Topics include: teaching as low-wage work; job security; respect and the value of art(ists); maintaining professional practices; the politics of space at the new ECU campus; impacts on students; the role of tenured faculty; and the erosion of academic freedom and integrity. We also consider how these conditions are exacerbated by and amplify gender and racial bias within academia." -- T. Poirier

"No New Theories builds on Kameelah Janan Rasheed's accretive and associative installation work, bringing together xerox abstractions, poetic text fragments, and found as well as original photography to explore learning and unlearning as a spiritual, socio-political, ecological, and cognitive process. With No New Theories Rasheed freely assembles her own writing, autocorrect algorithms, and Oulipian poems (short texts generated with the help of imposed constraints) alongside visuals drawn from her personal image archive, pop culture, zoological journals, quranic verses, and other sources. The work gathers these threads with an emphasis on the processes of revision and improvisation as she considers the entropic potential of meaning in place of fixed definitions. At the heart of No New Theories is an expansive interview between Rasheed and Jessica Lynne, co-founder of the art criticism journal ARTS.BLACK. The conversation attempts to document their intellectual partnership, constructed through a layering process by which the original exchange is reworked and expanded with annotations, citations, and excerpted texts from writers Samuel R. Delany, Alexis Pauline Gumbs, Emily Dickinson, and others. Rasheed and Lynne take on questions of epistemology and pedagogy, the nature of research, knowledge-acquisition, as well as patience and fatigue. Building on the notion of the 'organic archive' -- both as a fictional organizing framework and as a score for possible experiences -- the two consider various historical, sociological, and cultural facets of Americana, proposing a multi-directional discourse around the wide permutations of Black experience. The book's title -- No New Theories -- locates Blackness as a multivalent and porous experience that cannot and should not be neatly theorized"-- Provided by publisher.

"Blueprint for Counter Education is one of the defining (but neglected) works of radical pedagogy of the Vietnam War era. Originally published in 1970 and integrated into the design of the Critical Studies curriculum at CalArts, the book was accompanied by large graphic posters that could serve as a portable learning environment for a new process-based model of education, and a bibliography and checklist that map patterns and relationships between radical thought and artistic practices—from the avant-gardes to postmodernism—with Marcuse and McLuhan serving as points of anchorage. Accompanying this new facsimile edition of the book, posters, and slipcase is a 64-page booklet featuring a conversation with the original Blueprint authors Maurice Stein, Larry Miller, and designer Marshall Henrichs, as well as essays from Jeffrey Schnapp, Paul Cronin, and notes on the design by Adam Michaels of Project Projects." --Publisher's website.

Over the last decade, art education has been confronted time and again with neoliberal thought and attitudes. As a result of this, art education has turned slowly but surely into a specific product focused on quantifiable and verifiable end results manifested and legitimized by the rhetoric of marketing and efficiency. In most semester programs, only limited time and space slots—if any at all—are reserved for higher emancipatory values such as a critical process of self-enlightenment or experimental, speculative thinking and associating --Summary, WorldCat

"What do plants want, and where within our bodies might we know it? Adjua Gargi Nzinga Greaves's bibliomantic excursion unearths pastoral metaphor in books she used to inspire, direct, and reflect upon her performance "unschoolMFA" (2012-2015). If you see me, and I am glowing, it is because I did not let my first teachers kill me. An ouroboric Blackness traverses a settler fantasy of The Cultivated Wild. A fable of fruit trees and alphabets to feed a wilderness that refuses its name. Take good care / to shape with language / worlds that want to hold us all."--Publisher's website, viewed March 9, 2022.

Summary:
"Since its founding as a cultural studies group in 1999 in Yogyakarta, Indonesia, KUNCI Study Forum & Collective has experimented with methods of producing and sharing knowledge through acts of collective study at the intersections of affective, manual, and intellectual labor. This pamphlet is a collaboratively authored epistolary essay that narrates the discourse behind the development of KUNCI's School of Improper Education, an initiative that posits studying together as a tactical approach to creating the conditions for social movement. Founded in 2016, The School of Improper Education is an avenue through which unlearning can be practiced, where unknowingness can be transformed into a series of productive tools for understanding the contemporary social ecosystem and articulating the resourcefulness of an independent art and cultural organization."--Publisher's website (viewed 2021 February 5).

"In the essay Being Human Is an Occult Practice, Zurawski argues that studying and sharing literature can function as a means of enriching the impoverished definition of "human" created by capitalist social relations. Beginning with an analysis of Robert Duncan's description of the moment in his high school classroom when he finds himself called into a life in poetry, this essay explores the possibilities of the literature classroom at the very moment that it's being dismantled by the neoliberalization of our university systems. Zurawski argues that the literary holds a revitalizing potential precisely because of its capacity of exceeding the narrow imaginative aims of life within our contemporary social order. This pamphlet is part of UDP's 2020 Pamphlet Series: twenty commissioned essays on collective work, translation, performance, pedagogy, poetics, and small press publishing. The pamphlets are available for individual purchase and as a subscription. Each offers a different approach to the pamphlet as a form of working in the present, an engagement at once sustained and ephemeral."--Publisher's website, viewed July 7, 2021.

This workbook has been published for Let’s Mobilize: What is Feminist Pedagogy?, a three day investigation of queer and feminist pedagogies at Valand Academy Gothenburg 12—14 October 2016. It includes excerpts of texts we have been reading over time, contributions by instigators and participants of the mobilization, staff and students at Valand and other forms of utterings. It serves as a tool to inform and share the discussions the working group has had prior to the mobilization. It is also a resource to facilitate critical reflection in the student body at Valand Art Academy. On Friday 16 September an assembly day took place in the entrance hall of Valand Academy. --publisher's website

Over the past two decades, Francis Alÿs (born 1959) has used postcards to record his work and broadcast his ideas. Twenty-six postcards are gathered together in this affordable artist\s book, both a collectible object in its own right and a succinct introduction to Alÿs\s career. Francis Alÿs’s art is centered around observations of, and engagements with, everyday life. His multifaceted projects include public actions, installations, videos, paintings, and drawings; the artist himself has described his work as “a sort of discursive argument composed of episodes, metaphors, or parables.” Across these different media, Alÿs presents his distinct poetic and imaginative sensibility towards anthropological and political concerns. His actions have involved traveling the longest possible route between locations in Mexico and the United States to highlight the increasing obstacles imposed along the border; pushing a melting block of ice through city streets; commissioning sign painters to copy his paintings; filming his efforts to enter the center of a tornado; carrying a leaking can of paint along the contested Israel/Palestine border; and equipping hundreds of volunteers to move a colossal sand dune ten centimeters.

"A second-generation Chinese-American artist, Teresa Chen often works with private photographs taken by her family. Here we're introduced to the obsessive hobby of her remarkable parents, who, since their retirement, have fully dedicated themselves to polka dancing, traveling to festivals and contests across the United States, and documenting their passion all the while." -- Amazon.ca

A wide but thin, spiral-bound book by John Baldessari, in which the prolific conceptual artist continues his study of found photography and appropriated imagery. On each page are three black and white images: the end two are square and each depicts the profile of a politician; they face each other but are separated by the rectangular image in the middle. Page after page this middle image is replaced by a new shot of an object, starting with a knife, followed by a gun, a rope, a plank of wood, and a chain. Slowly, these shift from murder tools to more humorous, or everyday, objects, including a banana peel, a dying spider plant, and a clothespin. Each is centered and shot against a simple, nondescript background, creating the clean, minimal layout Baldessari is widely known for.

Artist Jeff Barnett-Winsby had been photographing in Lansing Prison for a year, when he found out that an inmate, John Maynard, had escaped with the help of a social worker, Toby Young. Maynard and Young, under the aliases Mark West and Molly Rose, were captured two weeks later in Tennessee. This book is a collection of Barnett-Winsby’s photographs and correspondence with the two lovers, both before and after the escape.

A Grocer’s Orgy is an artist book that presents an alternate history of Lucas Blalock’s photography using new photographs and previously unseen versions of existing images from throughout his entire body of work. With a title drawn from Baudelaire’s writings on dandyism, the book is designed by Blalock to create new formal and thematic associations through the collaging of already densely layered photographs. Linking together his earliest studio portraits with recent work utilizing overt digital alterations, Blalock builds on his recent approach of embedding additional photographs into the back of a single frame. The artist’s manipulations of images through erasures, cloning, and drawing emphasize what is absent or obliterated in his compositions, often with a poignancy and emotion that is lacking in most digital imagery. The book’s layout further complicates these photographs, with spreads that obscure the ability to determine where an image ends or begins.

The French photographer Mohamed Bourouissa (1978, Blida, Algeria) is interested in systems, in how society and particularly subcultures are structured. In his work, he explores the emergence of social processes. For his project Horseday (2013), he worked with a local Afro-American horse riding community in Philadelphia. Fascinated by these 'urban cowboys' and the status which the riders derive from their stables and horses, Bourouissa organised a 'horse tuning event' with artists and riders: a competition for the best decorated horse. Bourouissa translated this event into a series of impressive photos, a video for two screens and several sculptures. In his preparations for Horseday, Bourouissa made numerous sketches: drawings of sequences, draft compositions, quick watercolour sketches, a design for the preparation of the work. This artist book unfolds as a story with photos, sculptures and stills from Horseday, but Bourouissa also opens up his sketchbook, giving us a glimpse of his thinking process. This publication is a coproduction of Roma Publications and Stedelijk Museum Amsterdam.

Violence, calamity and the absurdity of war are recorded extensively within The Archive of Modern Conflict, the largest photographic collection of its kind in the world. For their most recent work, Holy Bible, Adam Broomberg and Oliver Chanarin mined this archive with philosopher Adi Ophir's central tenet in mind: that God reveals himself predominantly through catastrophe and that power structures within the Bible correlate with those within modern systems of governance. The format of Broomberg and Chanarin's illustrated Holy Bible mimics both the precise structure and the physical form of the King James Version. By allowing elements of the original text to guide their image selection, the artists explore themes of authorship, and the unspoken criteria used to determine acceptable evidence of conflict. Inspired in part by the annotations and images Bertolt Brecht added to his own personal bible, Broomberg and Chanarin's publication questions the clichés at play within the visual representation of conflict

With Blind, French conceptual artist Sophie Calle (born 1953) revisits three earlier works constructed around the idea of blindness. In “Les Aveugles” (“The Blind”), created in 1986, she questioned blind people on their representation of beauty; in 1991, in “La
Couleur Aveugle” (“Blind Color”), she asked blind people about their imagination of perception and compared their descriptions to artists’ musings on the monochrome; “La Dernière Image” (“The Last Image”), produced in 2010 in Istanbul, involved questioning people who had lost their sight on the last image they could remember. By establishing a dialectic between the testimonies of several generations of blind people and Calle’s photographs based on these accounts, the artist offers readers a reflection on absence, on the loss of one sense and the compensation of another and on the notion of the visible and the invisible.

"The green ray is an optical phenomenon that occurs during the last moment of the sun's setting. Rarely seen from land, and then only when the horizon over the sea is 100% clear, it appears here, on a few pages of a flip-book which documents an entire sunset in Madagascar. The stills are taken from Tacita Dean's 2001 video "Green Ray on Madagascar." -- Amazon.ca

"Hustlers gathers a photographic series taken by Los Angeles-based artist Eve Fowler (born 1964) on the streets of the West Village in New York and Santa Monica Boulevard in Los Angeles between 1993 and 1998. Drawing on her background in both journalism and photography, Fowler explores queerness and social "otherness." Here, her untitled, intimate images lay bare the ambiguities of identity, class, sexuality and gender--all of which combine to lend the figure of the hustler a semi-dangerous allure, and the ambiguous attractions of the social outlaw." -- Amazon.ca

A silver foil-stamped box that, appropriately enough, contains three books by photographer Jason Fulford (born 1973): Mild Moderate Severe Profound, I Am Napoleon and &&. The culmination of three years and 15 countries’ worth of travel around the world undertaken by Fulford as a Guggenheim Fellow, the photographs in these three volumes receive Fulford’s trademark elliptical, evocative sequencing, interspersed with texts that alternately explain and confound.

As photographer Jason Fulford (born 1973) recently learned firsthand, mushrooms have a way of growing and spreading wherever they touch ground. It all started when a friend of Fulford's gave him a box, found at a flea market, full of photos of mushrooms―unassuming pictures taken by an unknown but almost certainly amateur photographer, apparently as notes for some mycological studies. It combines some of the original flea-market mushroom pictures with his own images and text by the artist about the project.

Halpern made the photographs for Confederate Moons in North and South Carolina in 2017. He considers the work a meditation on the American South, on the state of the nation at this moment, and on the things that separate us and bring us together. “I was fascinated,” Halpern says, “by the idea that the entire nation was staring at the sun, reveling in the apocalyptic thrill of watching the moon temporarily extinguish our life-source, all together.” As in his previous award-winning work, Halpern’s image selection and sequencing for Confederate Moons has a dreamy logic to it, dropping the viewer into a kind of hypnagogic consciousness, not sure if we are awake, dreaming, or sleep walking.

Your Land/My Land: Election ’12 Was an installation by New York–based artist Jonathan Horowitz (born 1966) that occurred simultaneously at seven museums across the country. The installation provided a space for people to gather, watch coverage of, and talk about the presidential election.
An additional component of the exhibition was an interactive website that posted social media content from the Twitter, YouTube and Facebook feeds of both the Obama and Romney campaigns. Computers were stationed at each venue, allowing visitors to comment on these feeds, and the site was also accessible from outside the museums. That exhibition website is the basis for the content and design of this book.

During a three-year study, Rotterdam-based Christien Meindertsma tracked all 185 products made from a single pig she selected at random from a commercial farm in the Netherlands. She created this book, named after the pig’s processing number, to provide an illustrated overview of her research. While featuring expected food products like bacon, pork rinds, and sausage, the volume also catalogs numerous items less commonly thought of as pig by-products, including pharmaceutical tablets, X-ray film, insulin, antifreeze, heart valves, paper, cigarettes, and even the glue that binds the pages of the book. In this work Meindertsma used the life of a single animal to explore the complexity of the meat-processing industry, the relationship between humanity and livestock, and the consumption of resources.

On Onions is a photographic study of onions by Israeli-born artist Elad Lassry (born 1977). Characteristically highlighting the spectrum of hues and shapes for the vegetable, Lassry's selected taxonomy includes sections on red, yellow and white onions, each of which possesses its own distinct taste and benefits. On Onions is Lassry's first artist's book, and the work will exist only in book form; it is at once wry, refreshing and disorienting in its biology workbook style, which makes fruitful use of "the confusion that results when there is something just slightly wrong in a photograph" (as the artist has described his practice in general). Composed by the artist and arranged by Stuart Bailey, the book includes an essay written by Angie Keefer about the effects of sliced onions on human tear ducts.

Bettie Kline is an artist’s book conceived by Richard Prince and already published in a large-format hardcover edition by Gagosian Gallery in 2009. This pocket version is a gift from PURPLE magazine to our reader to celebrate Richard Prince’s work, which has been a long-standing inspiration for the magazine. Irving Klaw’s studio was on East 14th Street in New York City. 212 East 14th Street, to be exact. The same address where Franz Kline lived and worked. Klaw, along with his sister Paula, produced pin-up, nudie, and bondage photos. He worked with dozens of models; but his most famous, Bettie
Page, paid the rent. The Klaws and Kline were friends, and Kline would sometimes use Irvings ‘models’ for figure studies. Head over heels can probably describe Kline’s feelings for Bettie Page. By 1952, she became his ‘only’: his subject, his sign, his muse.
Working directly from life, Kline produced hundreds of pen and ink sketches of Bettie. The artist/model was secret. Nobody knew.

Features 77 black and white photographs that Vancouver artist Dana Claxton made during a short, three-day visit to Paris, France. Initially conceived as a document of “Indians” as a prevalent cultural trope within the Parisian cityscape, Claxton’s photographic journey subsequently grew into a larger and more diverse portrait of the city’s urban life, a journey now compiled into this provocative publication. Claxton – who is of Hunkpapa Lakota ancestry – has been investigating the impact of colonialism on Aboriginal cultures throughout North America, and her innovative works readdressing the concerns and realities of contemporary Aboriginal peoples are recognized for their bold aesthetics and political punch. Her work is a powerful meditation on how representations and stereotypes of First Nations have been constructed and commodified, both historically and throughout contemporary popular culture.

A visual strip of photos describing the length of Hollywood’s most famous street. There is irony in this portrait of the Western world’s fantasy factory portrayed with such glamorous neutrality. Printed on double leaves.

In February 2011, German photographer Wolfgang Tillmans (born 1968) decided to pay a visit to Fruit Logistica, the most important convention in the international fruit trade, held annually in Berlin. More than 2,400 fresh produce companies gather at the convention, presenting a dazzling panorama of texture and color. “I was left open-mouthed by the crazy displays and the variety and complexity of the international fruit trade and its processing machinery,” he records. “I reacted with my camera straight away.” The resultant 66 color photographs are published here for the first time.

Both an artist's book and comprehensive inquisition of D'Angelo Lovell Williams's work to date, Contact High offers an expansive engagement with the visualisation of desire and depiction of the Black body. Williams's narrative images reflect the many forms in which Black queer people exist and have existed historically within each other's lives, picturing them as sitters, lovers, caregivers, or shadows. Williams's work is guided by their life experience and an interrogation of their own perspective, as well as wider questions around the representation of race, class, sexuality, gender, and intimacy. The title Contact High references the importance of touch and gesture in Williams's work, and alludes to heightened senses and intuitive movement. From self-portraits to collaborations with community, Williams's photographs visualise the Black body in performative scenes that are theatrical, dance-like, and occasionally mundane, pointing towards collective histories and Black ancestral practices. At the heart of these intimate, dialogic images are notions of kinship and spirituality interweaved with quietly political and radical gestures. Williams's unfaltering gaze insists on visibility and deference, and creates scenes in which Black and queer voices are the authority. The dynamics that play out between families, cultures, friends, lovers, ancestors and descendants are visualised as a spectrum of care, tenderness, and vulnerability, speaking to the nuances of our complex lives often overlooked by historical depictions. -Printed Matter Website

Nature Relations explores the relationship between design and nature. The volume includes light, sensory, and vicarious experiences that deepen the relationship between design and nature. It presents a body of practices related to design and nature that focus on nature relations as a form of inquiry for designers, building understanding and terminology along the way. It draws on some of the work and findings of the Nature Relations Platform pilot project and its experiments around key themes of design and nature.- Occasional Press

Palestinian artist Taysir Batniji's diverse practice is often tinged with impermanence and fragility, drawing inspiration from his subjective experience and its relation to current events and history. In Disruptions, Batniji collects fragmented screenshots taken between 24 April 2015 and 23 June 2017 during several WhatsApp video conversations with his mother and family in Gaza. Settled in Europe and unable to return to his homeland for years, this digital commons provided a crucial meeting ground for Batniji and his family: a digital space nonetheless shaped and destabilised by the same forces affecting the artist's relatives in everyday life. Disruptions oscillates between the casual domestic language of the family phonecall and warped, degraded compositions, saturated with colour, obliterated with pixels, eradicated by distance. Through resolution and compression, Batniji's poor images politically visualize how communication and daily life in Gaza are compromised by conflict, control and surveillance. In their noise and visual obliqueness, Batniji creates a thread between common intimacy and the colonial, now genocidal violence imposed upon Gaza to date, while evoking the physical and emotional separation that occurs across borders. Announced on the 75th anniversary of the Universal Declaration of Human Rights, the publication of Disruptions calls for peace and stands in support of the legitimate struggle for Palestinian freedom. 100% of the profits will go towards the NGO Medical Aid for Palestinians, providing crucial medical care and support on the ground.

"A Landscape Photograph in the Land of the Dead is the second volume in the Writer-in-Residence book series, featuring essays and artwork by Nic Wilson. Wilson’s collection examines the complexities of how images operate, their metadata and the bizarre and occult machinations of photography itself. The 124-page publication debuts the new essay, 'Somewhere Yet Unknown,' and features an interview between curator Lillian O’Brien Davis and Nic Wilson, annotated by curator, writer and interdisciplinary artist, Blair Fornwald." -- from https://artmetropole.com/shop/15533

In 1888 Cumberland, British Columbia was rich with the natural resources of coal. Chinese workers were brought in by the Dunsmuir family (Union Colliery Company) to build and then work in the mines and to build the Wellington Colliery Railway to transport the coal to the seaport of Union Bay as a result Chinese labourers were employed. The Chinese were assigned swampy wetland just outside mine #2; they dredged it and built their businesses and homes: Chinatown. From 1888-1968 Cumberland’s Chinatown was a vibrant, thriving community. This book depicts the last citizen of Cumberland’s Chinatown, Hor Sue Mah aka Jumbo, and the last existing structure, his cabin. In the fall of 2017, I was awarded the post-residency alumni award from the Banff Centre. I used the award to fund the printing and making of Jumbo’s Cabin, a book about a once thriving Chinese community in Cumberland, BC. The book launched at my solo exhibit, Cold, Gold & War, at Campbell River Art Gallery in May 2018.- https://marleneyuen.com/project/jumbos-cabin/

Susanne Kriemann and Eva Wilson: Exclusion Zones
The second issue in Fillip’s Supplement series unpacks Susanne Kriemann’s photographic investigation of uraninite (or pitchblende), a radioactive, uranium-rich mineral found in the Democratic Republic of the Congo (where it was mined for the Manhattan Project), Canada (in the Athabasca Basin and Great Bear Lake), and throughout Europe. Kriemann’s work focuses on the impact of the land surrounding uraninite mines operated by the the now defunct mining company SDAG Wismut in the Ore Mountains of the former GDR. In Kriemann’s work, radioactive pigments drawn from wild plants growing near the vast sludge ponds at the decommissioned mine become raw photographic material: toxic, volatile, and beautiful.
Documented through Kriemann’s photographs, archival images, and a new text by Eva Wilson, Exclusion Zones charts an economic–geologic–cosmic nexus that speaks to the diverse impacts of industrial resource extraction and environmental remediation.

"Anna Vaivare’s protagonist works at the swimming pool. She enjoys observing people while keeping herself almost invisible doing her work. When you least expect it she herself plunges into the water and unveils her special secret."--Colophon.

This single long poem of intimately linked verses is not a translation, although the echoes of Japanese poetry and Tibetan Buddhist texts are many. Starting out after Basho but meeting Milarepa and Dante among others en route, the poet finds his own way, toward a kind of American mantra. - New Directions Publishing

"A forest of fir in the middle of a city transported me to a space in which only I existed along with the tall trees that surrounded me. The diffused light that filtered through the canopies and made apparent the details of each tree, had a special quality of quietude and tranquility that I had never before experienced. I had found my place in the world, and it was here, in the quiet and slowness of nature"--Artist's website.

Francesco Marrello’s comic, Le Dame Variabili, fuses the colorful spasms of computer glitches with natural formations of mountains, clouds, and lakes. Risoprinted in nine colors, Le Dame Variabili is a heavily saturated whirlwind that evokes the technological forest of the digital age. - Printed Matter

Handy identification guide to berries found growing along the Pacific Coast. Drawings and diagrams make for quick and easy use in the field, using major characteristics of each species.

Correspondence project between Michelle in Toronto and Carey in Halifax.

"Drift - Photo - Collage - Digital - Print - Bind - Drift"--title page

”This zine was made from start to finish on April 27, 2013 at The Book Bakery in Toronto as a part of She Said Boom: A feminist zine making symposium featuring G.B. Jones & Caroline Azar of Fifth Column.”--Colophon.

This is your guide to the fast-paced, energetic sport of treewatching! Just kidding. Watching trees is a relaxing way to slow down your life, synch up with the natural world, and truly breathe and learn to be in peace for a little while. You may have heard of forest bathing—it's a similar idea. This guide will open your eyes to trees, nature, and your own capacity for calm observation. - Microcosm Publishing

A zine about train art and skateboarding in the gateway to the interior of British Columbia

"This no place to stay is a semi-fictional, semi-biographical story by the German artist Michael Jordan. His bearded alter ego travels through a coffee cup into a labyrinth inside a hospital laboratory. Hopefully the wound in the nurse's hand can rescue him..."

"Cheng Foo, based on a found taped interview, is a book about a former Chinese railroad worker. He arrived to Canada in 1881 to work on the railroad; he worked the western section of the railroad for nearly 5 years and worked until he couldn’t stand it anymore. After that, Cheng Foo settled in the interior town of Yale, BC and opened a small grocery store, which sold Chinese foods and provided basic lodging to Chinese passing through Yale. Cheng Foo always wanted to return to China, but was not able afford the journey home."--provided by artist.

"Dodeca Meters is a year-long publishing project featuring 12 booklets by 12 photographers, printed in a single color using risograph printing. Dodeca Meters exists to provide an archive of what is possible within the intersection of photography and risograph printing, through accessible multiples."--Publisher's website.

For six years, Fritz Haeg opened his Los Angeles home to ideas and art through events, happenings, gatherings, meetings, pageantry, performances, shows, stunts and spectacles framed and affected by his unique house which included a subterranean cave, a geodesic dome, and a series of garden spaces. This special artists book documents the Sundown Salon events and also shares participants reflections on the idea of salons and the nature of viewing and making art communally and for a domestic space. "The Sundown Salon Unfolding Archive" is both a book and an exhibition: It is printed as one long accordian fold paper. The text can be flipped through and read like a book, and the pictures can be unfurled to a 140 foot long art piece. The book has been conceived by Fritz in collaboration with Evil Twin Publications' Stacy Wakefield. Released in June 2009 in a limited edition of 500 copies, each copy features a hand-screened cover in five different configurations by a different artist.

Publication produced to accompany the Fibreshed Field School program presented by the Shumka Centre for the Creative Entrepreneurship in collaboration with the Aboriginal Gathering Place and Material Matters at Emily Carr University of Art + Design from September to December, 2020.

"This artist's book is the final part of a photographic work, the first three parts of which were installations. The book consists of twelve fold-outs with text by the artist. Bancroft posits a concern with the landscape as an individual creates it through her/his own history and imagination. The bookwork reflects the impulse to interrupt a smooth narrative reading."--Publisher's website.

From our exhibition Athena Tacha, The Complete Bookworks 1970 to Present: “Tacha’s
accordion-fold pocket books are “meditations on a particular aspect of life, describing
ordinary acts and phenomena such as scratching dandruff from the scalp, considering which
groceries to buy in the supermarket, or the appearance of wrinkles with age. Tacha’s
reflections bring to light the broader implications of these seemingly commonplace events,
making allusions to the ecological, sociological, and political impacts of our personal
choices and emotions and visa versa. Just as often, Tacha’s reflections stay within the
intimate scope of the act or object described and leave the reader to draw their own
conclusions.” - Printed Matter Website

In Jyrki Heikkinen’s Little Hilma, a busy father does not always have time to read to his
children. But luckily a teacher-to-be is found at a surprising location and minor worries
can be forgotten. -Author's Website (https://jyrkiheikkinen.wordpress.com/julkaisut/)

45 Days of Sleepwatch contains Laura Zurowski’s poetic responses to ‘Sleepwatch’, a
community forum in London’s online ‘Missed Connections’ page. The poems posted
through ‘Sleepwatch’ are surreal and emotional; Zurowski’s introduction to the zine
express her interest in the evocative capabilities of the forum’s posts. She describes
falling “hook, line, and sinker for the mystery” of the project, a feeling which obviously
influenced the formal decisions that she made while constructing the zine. The zine is
densely folded, each page containing text from the forum, Zurowski’s responsive poetry,
and collaged pieces of paper marked with erroneous texts and images. -Printed Matter Website

Now is the Past is jointly published with There is No Future by the same artist, Hai Hsin
Huang. While There is No Future vividly depicts the crowds of curious visitors of the
Metropolitan Museum in New York, Now is the Past blows-up and focuses on the faces
of the personages.
nos:books printed the miniature book by traditional letterpress machines, making you
look closer to each and every masterly portraits. The two books, big and small, genuinely
capture Huang’s macro- and micro-scopic views of the world. -Einbuch.Haus Website

Sensory Maps of the City of Vancouver, were commissionned by the City of Vancouver
as part of the Mapping and Marking 2010 Artist-Initiated and Public Art Projects in
corrilation with the Vancouver Olympics 2010. The resulting maps used the public
transportation system of Vancouver and specifically interpretated the Seabus, twenty
bus routes, and the complete Skytrain Millennium line. This project was a collaboration
between Anna Ruth and Juho Jäppinen. Thirteen posters were displayed in bus-shelter
advertisment placements around the city and the complete collection of drawings was
later shown at the Emily Carr University's Concourse Gallery and published in a book by
ECU Press in Vancouver, 2010. - Author's Website (http://www.annaruth.net/sensory-maps-of-the-city-of-vancouver.html)

This mini, compact catalogue, written in both French and English and available in six
different colors, accompanies the exhibition “BigMinis,” at CAPC museum of
contemporary art of Bordeaux. Both explore the fascination that things “scaled down”
wield these days, afflicted by the crisis as we all are. If it is possible to see in the mini a
harbinger of crisis, as well as a reflection and a critical consequence of this latter, we
must also not overlook the fact that it usually represents an unexpected and off-kilter
response to the recession. Because a reduction in size conveys the idea of a reduction
in cost, space, and time, it likens the production of the compact to an intelligent, reactive
production, adapted to its economic and cultural context. A control-production. - Sternberg Press Website

But what if you really are made of sugar?

"This book was published on the occasion of the exhibition Stefan Sagmeister: The Happy show organized by Claudia Gould." — Dust jacket flap.

Activates slogans from 2017 Women's march in Washington and protests against Trump's travel ban. -Artist's Website

"Derived from journal entries, Ohama's poems trace visual patterns on the page while speaking of healing, breathing, identity, and life."--from e-Artexte

A collection of 52 poems written between the years of 2007 and 2009

Someone who doesn’t experience or understand pleasure re-invents poetry for the 21st century conflicted ego, viewing life as a political problem that no amount of startling emotional turmoil or insight can solve. The texts here range from confessions of conflicted feelings to theories of obsolescence, from the desire for a fluffy towel, to possible dialogues for a future detective novel. Freely mixing a calm, straight-forward voice with fragmented shades of hysteria and polemic, the book lays bare the unsettling disappointment of youthful hope, the utopian dream, and energy lost somewhere between a party and a political action.--colophon

"'K" from Karl Holmqvist (born 1960 in Västerås, lives and works in Berlin and Stockholm), explores different levels of textual interaction with art. Both as concrete poems or language "drawings," in which words and letters come to form patterns, and through repetitions somewhere between sense and non-sense, figuration and abstraction. His work may also take the form of longer spoken word poems intended for performance readings, again investigating the formats of repetition and variation, but with more of a rhythmic and musical structure tied to memory training techniques and oral tradition. Substantial parts of the book's material are in fact gathered as "loans" from other artists, forming something of a mini-collection of language-art practices and references from Zurich and Berlin Dada, Futurism, Vorticism, Lettrisme, and onward to more contemporary formulations from artists such as Ferdinand Kriwet and Shannon Ebner.

The book has been designed by the artist together with Joshua Schenkel (Müller & Wesse, Berlin). It is published as a joint collaboration on the occasions of the "solstice readings" at Kunsthalle Zürich and a newly commissioned installation at Bergen Kunsthall. - JRP website

"With Language to Cover a Page, Mueller has carefully aligned excerpts from disparate books--with differing typefaces intact--into two evolving pages. These pages crescendo before our very eyes, a flipbook of accumulating meaning, where with the passing of every page the narrative becomes aware of its own developing presence." --Derek Beaulieu, page insert.

Heart of a Shapeshifter: 2Spirit Love Medicine is a collection of poems, short essays, and prose by Coyote Park. It explores transformation, non-linear transitions, ancestor worship, diaspora, T4T romance, non-monogamy, queer awakenings, and various intersections of Park’s lived experiences. Woven throughout the collection are 8 Vessels, taking shape as themed chapters and representing lifetimes. Throughout these vessels, Coyote reflects on extensions of themself, their lovers, and what love medicine means to them. “Heart of a Shapeshifter” is born out of the passion of Brown leather dykes, Trans Deities, and the fierce and overflowing protection of Spirit. A collection of writing to all of those yearning to love and shapeshift freely. -Art Metropole

”Elizabeth Lebon writes poems, prose, concrete poetry, and produces book objects, as well as optical and audio compositions. Poetry typescripts are an important part of the research carried out by this English artist, who writes on her typewriter every day. Most of the poetry tapestries reproduced in this book are related to the perception of shores and oceans: “sey; of the oea; cocklle; like a cockle shell; courage; aeagull; wea wea my my; aaaaaaaaaaaaaaaaaaaaaaaa; mountain ing sea sea sea; pages tothfh bhblel nsnkek ataghgee olofaf tkt eue sgseeeasa; are; sand embers.” All compositions are published for the first time. The title is made with an original label typewritten by the artist, and all copies are numbered and signed.” — publisher's website.

Hand screen-printed from original woodcuts on acid-free archival paper. "On March 15, 2013 the 17th annual anti-police brutality protest took place in Montreal. Immediate police intervention ended and dispersed the protest shortly after it had begun for not providing an itinerary of their route. Remaining protesters and bystanders were then kettled and mass arrested with little to no resistance. At the end of the day there were 297 arrests, 275 under the city of Montreal's municipal by-law P-6. The march was organized by the Collective Opposed to Police Brutality, who believes Montreal police often use excessive force and unfairly target marginalized communities. This is an Account of what I saw."--colophon.

Taken at a machinery foundry, Advanced Individuals is not just a record of the model workers in the year 1977, but has also documented the very existence in the Post-Cultural Revolution days.--from 88Books.ca (Viewed 31 October 2012)

The book collects, repeats and processes over 80 source collages, incorporating drawings, sketches, writing and marks, often in combination with images. Much of the language in the collages is drawn from the protests against police brutality that swept the US in 2020: Pendleton has transcribed slogans sprayed on walls and windows, combining them with his own improvised language as well as photographs of art objects and artifacts (sculptures, masks and figures). The work points to the poetic pressure that uprisings place on language itself, compressing it in some cases into the barest of forms: simple sequences like zACABy or z1312,y further reducible to the elements zA, B, C,y z1, 2, 3.y In parallel with these operations of decomposition and recomposition, the collages in As Heavy as Sculpture have been duplicated, laid out across 30 sheets and folded into book signatures, creating new displacements and cuts. This folding is in effect a chance operation, a procedure of recombination and translation, resulting in arrangements of images not planned out in advance.

Edited and published by Rasheed Araeen and Mahmood Jamal between 1978 and 1979 in the UK, Black Phoenix remains a key and radical document of transnational solidarity and cultural production in the fields of visual art, literature, activism, and beyond. This publication compiles all three issues of the journal into a single volume. More than a decade after the liberation movements of the 1960s and the historic Bandung and Tricontinental Conferences, which called for social and political alignment and solidarity among the nations of Africa, Asia, and Latin America in order to dismantle Western imperialism and (neo)colonialism, Black Phoenix issued a rallying cry for the formation of a liberatory arts and culture movement throughout the Third World. International in scope, Black Phoenix positioned diasporic and colonial histories at the center of an evolving anti-racist and anti-imperialist consciousness in late 1970s Britain and beyond - one that would yield complex and nuanced discourses of race, class, and postcolonial theory in the decade that followed. Black Phoenix proposed a horizon for Blackness that transcended racial binaries, across the Third World and the West. Contributors include art critics, scholars, artists, poets, and writers, including Rasheed Araaen (Pakistan) and Mahmood Jamal (Pakistan), Guy Brett (UK), Kenneth Coutts-Smith (UK), Ariel Dorfman (Chile), Eduardo Galeano (Uruguay), N. Kilele (Tanzania), Babatunde Lawal (Nigeria), David Medalla (Philippines), Ayyub Malik (Pakistan), Susil Siriwardena (Sri Lanka), and Chris Wanjala (Kenya).

Buzzing at the Sill' is Peter van Agtmael's work about coming home from years of covering war in Iraq and Afghanistan and trying to understand his experiences and his country. A student of history at Yale during the September 11 attacks and the invasion of Iraq, his sheltered life was uprooted by the realization that he needed to cover the wars. The work is a stew of reflections on war, memory, militarism, identity, race, class, family, surrealism and the landscape. It is both about the limitations of photography and an homage to its power. Buzzing at the Sill is a sequel to Disco Night Sept. 11, van Agtmael's previous book on the wars in Iraq and Afghanistan that was shortlisted for the Paris Photo/Aperture Book Award and was named a Book of the Year by The New York Times Magazine, Time, Vogue and American Photo amongst others. Peter van Agtmael (b. 1981) is a member of Magnum Photos. He has won many awards, including the W. Eugene Smith Award, the ICP Infinity Award and two World Press Photo awards for his work in Iraq and on the war at home.

"This book documents Ron Terada’s walkabout of Cockatoo Island in September 2008. Expecting an exotic, tropical landscape replete with cockatoos and other rare fauna, Terada instead found himself on an island more in common to an isolated penitentiary like Alcatraz. Located off Sydney Harbour, Cockatoo Island was indeed once the site of a former prison and shipyard, yet on this occasion, also the setting for the 2008 Sydney Biennale. Presented in a refined yet deadpan serial layout, Terada’s Cockatoo Island “blacks-out” any visual evidence regarding the works in the exhibit, the trajectory of his walk, or any clues to the island itself. What remains is a list of each participating artist as presented by the Biennale organizers: on homely, hand-made signage that evokes at once both protest and resignation."--Or Gallery website.

Originally published in 1971, 'A Documentary HerStory of Women Artists in Revolution' documents the efforts of W.A.R., a loose group of women artists, filmmakers, writers and cultural workers organized around advancing the place of women in the art world. Members of W.A.R. included Juliette Gordon, Sara Saporta, Therese Schwartz, Muriel Castanis, Cindy Nemser, Dolores Holmes, Betsy Jones, Silvia Goldsmith, Jan McDevitt, Lucy Lippard, Grace Glueck, Poppy Johnson, Brenda Miller, Faith Ringgold, Emily Genauer, Agnes Denes, Doloris O'Kane and Jacqueline Skiles. Active from 1969 to 1971, W.A.R. was founded as the women's caucus of the Art Workers' Coalition (AWC). AWC mobilized around anti-war protest and anti-racist action, also campaigning for artists' rights and wages, the decentralization of museums across NYC boroughs, more diverse exhibition programming and the restructuring of management within cultural institutions. This facsimile publication of 'A Documentary HerStory of Women Artists in Revolution' gathers manifestos, statements and declarations by W.A.R. members; articles and reports about gendered and racialized discrimination in the arts; pro-abortion flyers and protest ephemera; and grant applications and reports detailing the founding of the Women's Interart Center in spring 1970, W.A.R.'s brick-and-mortar studio, workshop and exhibition space. It also reproduces documentation of key actions including the 1970 Art Strike Against Racism, Sexism, Repression and War, and correspondence with officials at the Whitney Museum, the Guggenheim Foundation and the Museum of Modern Art, among others. This publication takes as its source the second edition of the publication, which was published in 1973. The edition was chosen because it features a preface and addendum with retrospective reflections on the history and activities of W.A.R.

"Beginning as an investigation into the apparently disparate events that bookend the twentieth and twenty-first century the collapse of Communism and the Islamic Revolution in Iran Friendship of Nations: Polish Shiite Showbiz traces unlikely points of convergence in Iran and Polands economic, social, political, religious and cultural histories. Drawing on Slavs and Tatars multi-disciplinary practice encompassing research, installations, lecture-performances and print media, this publication embraces new contributions in the form of essays, interviews, and archival presentation on subjects that range from seventeenth-century Sarmatism to the twenty-first-century Green Movement, taking in along the way, tales of the Polish Exodus, Wojtek the bear, craft, hospitality, Passion plays and taziyeh, and the political lessons of a Polish slow burn revolution for contemporary Iran."--provided by plublisher

"The musical deals with the romanticization and synaesthetic manipulative tactics of the depiction of revolution, rebellion and recent history of the same group of bored rebels. Facts are mixed with fiction, layers are laid over layers to create scenes that direct the viewer's perception to what was and is really real."--publisher's description

Interviews with inhabitants of Küba , "a pocket-sized neighborhood within the Istanbul urban megalopolis," that prides itself on its independence and separateness from greater Istanbul.

"Le fond de l’air est rouge [The Essence of the Air is Red] is a collection of texts about the 2012 Quebec student uprising by Montreal artist and activist Stefan Christoff. Written between spring 2011 and summer 2012, this series of articles includes first hand accounts of the incredible street protests in Montreal and reflections on the student strike within the context of Quebec revolutionary history."--provided by publisher

Long Live is an independently published art comic book by award-winning animator Xi Chen. Set sometime during the Chinese Cultural Revolution, the book intersperses quotations from Chairman Mao with scenes of social interactions in a small town.

Missed Connections documents missed connections posted on Craigslist during and relating to the Occupy Wall Street movement. Missed connections are part of the personals section of Craigslist for people to search for a stranger they shared a moment with. The postings are sincere, raunchy, vulnerable, and absurd. Postings were collected from across North America.

A collaborative effort between the French Algerian filmmaker Adele Duval and American artist Dennis Adams. The book contains an interview of Adams by Duval discussing Adams’ investigation into the French Algerian war, the experiences of an American artist working abroad, and the intersections of public art, architecture and politics. The text is interspersed with black-and-white photographs of Algeria, loosely correlating with the preceding text.

Publication for the exhibition currently at Massy Books, Quilt of Hope includes works exploring the "role of artists in dismantling anti-Black racism". The contributors explore the role of artist as activist and changemaker. They point out how Black history has been omitted from Vancouver history, and Black artists are still underrepresented in the Vancouver art landscape.

Claire Fontaine has produced 8 unique drawings, fashioned by the shape of lock picking tools, to share with us the intricacies of navigating complex interiors - whether it be an unanimated object or an object of desire - the sequences within the text and these drawings ultimately reveal how to "win the resistance of closed doors that we all face each day.

"Egyptian uprising called for democratic reform. Tahrir Square in Cairo became the focal point and the most effective symbol of the protests in January and February 2011. For 18 days Egyptians repeated the slogan: The People Want to Bring down the Regime (al-sha`b yurid isqat al-nizam) until the regime stepped down on the 11th of February 2011. "This book focuses on the revolution slogan 'al-sha`b yurid isqat al-nizam.' Using Arabic Kufic script the words of the slogan are repeated in an ascending sequence. Section 19 contains the English translation for the slogan 'The People Want to Bring down the Regime.' The last section contains the time and date when the regime stepped down along with the sentence 'Al Saa'b Askat al Nezam' with its English translation 'The People have Brought down the Regime'. "Cairo's map is laser engraved on the book covers. Three edges of the book are colored then laser engraved to show the streets of Cairo."--artist's website.

"When We Say No documents resistance, particularly the Emily Carr “No More Tuition Increase” movement and student Walk-Out on December 1, 2022, protesting the proposed, and now passed 30% tuition increase for incoming International Students. This book is made to feel intimate, and emulate how many activist movements start– by whispering to a friend."--from artists' statement

"[Risograph] swatch book collects all colours available from Colour Code. Includes Pantone, HEX and RGB equivalent values."--provided by publisher

"SCREENING is a crossover project by Sigrid Calon & Willem van Zoetendaal. Since their first meeting at the Best Dutch Book Designs 2012 Calon & Van Zoetendaal started a collaboration in exchanging their specific skills in design and printing. They started to produce limited editions of artist books, posters a.o. about the relationship between patterns and portraits printed in risography on offset.
The first series of experiments, SCREENING 1 consist of studio portraits from the early eighties by Lee To Sang. These portraits, negatives selected from the Van Zoetendaal Archives are printed in offset. Sigrid Calon designed layers of colour patterns on top of the ‘models’ in risographic printing."--from graphic artist website

"Francesco Marrello’s comic, Le Dame Variabili, fuses the colorful spasms of computer glitches with natural formations of mountains, clouds, and lakes. Risoprinted in nine colors, Le Dame Variabili is a heavily saturated whirlwind that evokes the technological forest of the digital age."--provided by publisher

”Employing 3D software, Rafman sculpts “skin”—including paintings by Bruce Nauman, Francis Picabia, Robert Delaunay, Mark Rothko,—onto virtual busts… In these busts actual art history meets possible futures… Together, the series forms a conceptual literature of alternative realities, totally alien, and yet, somehow familiar.”

A long time ago in a place where all was not understood, not a thing made sense and I was very much smaller than everyone else. Where landscapes disintegrate and bodies fragment, where the surface is shinier, a distressed narrator struggles to form a sense of self. If i were a dog… but i’m a fish. MacCormack’s surreal, lush imagery and fragmented text reflect a harrowing account of trauma. He lives in the Dream of a Fantasy and breaks off pieces for us. As terror and alienation wash up on every shore, the child’s desire for belonging and human connection is undone by her critical eye, and an inability to accept that her perception of reality is unsound. All these awakenings are only small gasps of air sucked into the lungs. Then we go back under. Before the child drowns, the body transforms into creatures of the sea, while the Missing Ones still can’t be found anywhere. When we have long ago fallen off the places that might have made sense, where there are many fish, many directions, we are led to ask what it might have looked like if anyone was looking. The author reveals a heart-wrenching portrayal of survival.--colophon

Art Prison refers to a series of special book residency projects which take place in Knust/Extrapool. Within Art Prison an artist is invited to make a special publication at Knust/Extrapool. The guest artist will be 'locked up' for a period of 14 days in Extrapool to make a stencil printed publication together with Knust. An Art Prison project can be seen as an extended Work Holiday. The project duration is longer, there is more intensive counseling, there is more space and time for more options, and choices and the book will be entirely published by Knust/Extrapool. An Art Prison publication is also special because it is a translation of the work of the artist in the form of a book focusing on the characteristic elements of his/her work. With the possibilities of stencilworkspace Knust this always results in a unique and valuable book. The books speak for themselves and clearly bear the stamp of Knust. They could not have been made anywhere else. All together the books give a good impression of the potential of what can be made at Knust.--from the Art Prison web page.

"The follow up to Tetsunori's sold-out book Monitor. Behold creatures from an undiscovered planet, seen through the lens of a telescope from inside Tawaraya's mind's eye.. hmm." -- Publisher's website, viewed February 8, 2018.

"I grew up in Clearwater, Florida close to the beach. I went swimming a lot, hung out in parking lots, went to music shows and ran around with friends causing trouble. I started taking pictures. Then went to college at the University of Florida, began making videos and sculptures. Then joined a circus and ran off with them, causing more awesome trouble. We were called Cloud Seeding Circus of the Performative Object. Then I ran away to Germany to lead bike tours one summer and my travels took me to New York. I started to paint and draw. My house burned down on Super Bowl Sunday of 2004, the same night I decided to start a gallery with this guy named Sto. Nine plus years, Cinders is still going, now as a non-profit organization. I had been living in New York for a decade and now live in Florida as Co-Director of F.L.A. Gallery in Gainesville. I make music in the bi-coastal band, Light Hits. I have work in the permanent collection at MOMA and the New York Public Library. The NYPD ran me over on my bike and broke my back and pelvis, but i am fine now and like to go on walks outside and plan my career as a manatee camp counselor one day..."--provided by publisher

Hand screen-printed from original woodcuts on acid-free archival paper. "On March 15, 2013 the 17th annual anti-police brutality protest took place in Montreal. Immediate police intervention ended and dispersed the protest shortly after it had begun for not providing an itinerary of their route. Remaining protesters and bystanders were then kettled and mass arrested with little to no resistance. At the end of the day there were 297 arrests, 275 under the city of Montreal's municipal by-law P-6. The march was organized by the Collective Opposed to Police Brutality, who believes Montreal police often use excessive force and unfairly target marginalized communities. This is an Account of what I saw."--colophon.

A photographic collection of both found and researched archival images, Ouija Orphans is a publication and potential experience exploring the connection between historical narrative, static images, and possible spirit worlds. The hand-silkscreened cover unfolds to reveal a full Ouija board, complete with a conjuring planchette and instructions for adventures in eschatology (an aspect of theology concerned with death, divine judgment, the final destiny of the soul and of humankind).” — artists’ website

Limited edition of 100.
"Second issue in a comic series that focuses on pairing images and poetry as the dominate voice in a linear narrative. Issue 2 is printed entirely analogue by screen-printing hand drawn layer separations."--Artist's website.

Limited edition of 100.
"Drunk Ships illustrates objects that become placeholders for people, time periods, relationships and subsequently the fluctuations in individual identity and experiences over time. The comic moves through 10 phases, using intuitive compositions to externalize complex and changing identities."--Artist's website.

Features stories of old haunted Vancouver. The illustrations are especially ghoulish as they have been silkscreened with glow-in-the-dark ink. Waterfront Station -- 717 East Pender -- Beatty Street Drill -- Bollert Residence -- Orpheum Theatre -- Gabriola Mansion -- Century House -- Hycroft Mansion

Edition of ten.
All the illustrations in the book have been screen printed with gold metallic ink on BFK Rives (280gsm) paper. It is a hand bound accordion book finished with screen printed book cloth.
"Cheng Foo, based on a found taped interview, is a book about a former Chinese railroad worker. He arrived to Canada in 1881 to work on the railroad; he worked the western section of the railroad for nearly 5 years and worked until he couldn’t stand it anymore. After that, Cheng Foo settled in the interior town of Yale, BC and opened a small grocery store, which sold Chinese foods and provided basic lodging to Chinese passing through Yale. Cheng Foo always wanted to return to China, but was not able afford the journey home."--provided by artist

Edition of ten. All the illustrations in the book have been screen printed on BFK Rives (280gsm) paper. It is a hand bound accordion book finished with screen printed book cloth.
"This artist book was inspired by a taped interview found on the Canada Veteran affairs archives. Growing up a devout Christian in Victoria, BC, Mary attended a segregated school. She was an independent spirit who enlisted in the army (1943) before both her brothers. She worked as an instrument mechanic; she was trained in Barrie Field, Hamilton, ON where she learned how to operate a lathe. Mary also was also classically trained in singing and dancing jazz. She entertained the troops as well. After her military service, she trained in horology: watchmaking. Mary was the first Chinese woman to graduate from this program. She passed away in 2011 in Toronto. She will always be remember a strong willed, independent spirit."--provided by artist.

Screen printed instruction manual: The principles of screen printing.

"The Uses of Literacy is a collaboration between the artist Jeremy Deller and fans of the Welsh rock group, Manic Street Preachers. Soliciting for contributions via advertisements in the music press, Jeremy Deller has collected drawings, paintings, poetry and prose from the young fans. Manic Street Preachers have always emphasized the importance of art and literature to the band − using quotations on their record sleeves, merchandising and as part of their live shows – as an escape from the mundane. Referencing Richard Hoggart’s seminal study The Uses of Literacy, Jeremy Deller reveals the complex relationship between the audience and performer and the art and literature that unites a socially and geographically displaced group of individuals." - Book Works Website

In this remarkable artist's book, French conceptual artist/provocateur Sophie Calle presents 107 outside interpretations of a "breakup" e-mail she received from her lover the day he ended their affair. Featuring a stamped pink metallic cover, multiple paper changes, special bound-in booklets, bright green envelopes containing DVDs and even Braille endpapers, it is a deeply poignant investigation of love and loss, published to coincide with the 2007 Venice Biennale--where Calle served as that fair's French representative. All of the interpreters of Calle's breakup letter were women, and each was asked to analyze the document according to her profession--so that a writer comments on its style, a justice issues judgment, a lawyer defends Calle's ex-lover, a psychoanalyst studies his psychology, a mediator tries to find a path towards reconciliation, a proofreader provides a literal edit of the text, etc. In addition, Calle asked a variety of performers, including Nathalie Dessay, Laurie Anderson and Carla Bruni, among others, to act the letter out. She filmed the singers and actresses and photographed the other contributors, so that each printed interpretation stands alongside at least one riveting image of its author, and some are also accompanied by digital documentation. The result is a fascinating study and a deeply moving experience--as well as an artwork in its own right. Already a collector's item, this is a universal document of how it feels to grieve for love. -Abebooks Website

General Idea’s last edition, a kind of farewell. The text is based on a text by Yves Klein and is a tribute to the Spirit of Miss General Idea. (The text was first written in 1992 and first published in the catalog for the exhibition Pharmacopia at Centre d'Art Santa Monica, Barcelona, 15 September - 10 November 1992.) Black linen cover with blue hot stamping in a signed and numbered edition of 900. General Idea catalogue raisonné 9501. -Printed Matter Website

Unfolding to nearly twenty-five feet, this accordion-format book comprises a photocollage that captures both sides of a mile-and-a-half stretch of Sunset Boulevard in Los Angeles. To achieve this continuous image, Ruscha and his team mounted a motorized camera on the bed of his pickup truck. “All I was after was that store-front plane . . . It’s like a Western town in a way,” he later reflected. “A store-front plane of a Western town is just paper, and everything behind it is just nothing.” After producing this book, Ruscha was inspired to document other streets in LA, a practice he continued for more than fifty years. -MOMA Website

"With a signature use of botanic or landscape motifs coupled with diffuse lines that form map-like objects, Kyoto based painter Ryoko Aokis working approach has led to the creation of her own unique floating world full of mysterious humour. This first publication on the work of the artist presents an extensive body of predominantly existing works on paper that also explore the theme of linking. Delightfully produced, the book is illustrated throughout and contains a combination of delicate sketches, watercolours and gouache on paper, along with several photographs, juxtaposed and linked to one another." -Abebooks Website

“Brutus Killed Caesar is a wide but thin, spiral-bound book by John Baldessari, in which the prolific conceptual artist continues his study of found photography and appropriated imagery. On each page are three black and white images: the end two are square and each depicts the profile of a politician; they face each other but are separated by the rectangular image in the middle. Page after page this middle image is replaced by a new shot of an object, starting with a knife, followed by a gun, a rope, a plank of wood, and a chain. Slowly, these shift from murder tools to more humorous, or everyday, objects, including a banana peel, a dying spider plant, and a clothespin. Each is centered and shot against a simple, nondescript background, creating the clean, minimal layout Baldessari is widely known for.” -Provided by Printed Matter

“Artwork vs. The work of artists is a book that describes some of the constraints of working in the art world, and proposes case studies and ideas for collaborative artist work in other industries and communities. It uses collaged design techniques to make dense ideas more approachable. Risograph printed in an edition of 225.” - Provided by Printed Matter

Before her self-imposed exile from the art world, Lee Lozano (1930–99) was a highly regarded painter who defined a generation of American artists infusing conceptualism with a new intensity. A prolific writer and documenter of both her art and her relationships, the public and private, Lozano kept a series of personal journals from 1968 to 1972 while living in New York’s SoHo neighborhood. Eleven of these private books survive, containing notes on her work, detailed interactions with artist friends and commentary on the alienations of gender politics, as well as philosophical queries into art’s role in society and humorous asides from daily life. In the decade before her infamous “dropout piece”—culminating in a move to Dallas where she would remain until her death—Lozano returned to these notebooks, editing the entries, sometimes blacking out entire pages. Private Book 1 is the first in the series of 11 pocket-sized books, which are printed as facsimiles. – Provided by Artbook

Text snapshots of other people’s lives alternate with stylized line drawings of other people’s forms in Leesa Streifler (images) and Jeanne Randolph’s (text) collaborative work. The human bodies depicted are unusual; intersexed, distorted, some possessing more limbs or less than others and usually in extravagant poses. The writing is intimate and highly varied; one recieves the rare impression that each passage is truely by a different person, rather than one person speaking for fictional others. – Provided by Art Metropole

A young researcher at Golden Dawn Laboratory discovers a species from outer space with octagonal fingerprints! These space inhabitants are skillfully stippled by Tawaraya, in his fourth installment of the coil-bound book series. - Provided by Colour Code Printing

‘A Cookbook of Invisible Writing’ is an introduction to analog steganography, a type of secret writing that is hidden in plain sight. It is an invisible ink colouring book, recipe book, puzzle book and artistic research book. This book also serves as a starter pack to run workshops for those who are interested in alternative forms of communication. A Cookbook of Invisible Writing provides a wide variety of invisible ink recipes and other communication techniques that may be used to subvert surveillance, bypass censorship and make visible the struggles of minorities and other marginalised cultures. Additionally, it aims to inspire communities to develop their own new poetic and playful forms of communication as a way of nurturing social bonds. - Provided by Artist’s Website

With text in both French and English, this book combines text and image with silkscreened cards and stamped and handwritten text. Using aesthetics of postwar design and cultural theory concepts dealing with text (think Barthes and Baudrillard), it is a super smart spiral bound book with a brief essay by Peggy Gale. - Provided by Art Metropole

This artists' book presents two evocative sequences of texts and images: Keeley and Holubizky frequently evoke the body and its parts, while Fabo and Hurtig raise love, sex, AIDS, and other themes. - Provided by e-artexte

“75 years after the first photocopy was made, firstsite's autumn exhibition celebrated the role that this technology has played within contemporary art. Featuring over 125 works by 39 artists and artist groups from 10 countries, it is our largest exhibition to date.

A new publication featuring a selection of texts on the subject of xerography and an extended essay by firstsite's Senior Curator, Michelle Cotton, will accompany the exhibition.” -Goodreads website

“Brutus Killed Caesar is a wide but thin, spiral-bound book by John Baldessari, in which the prolific conceptual artist continues his study of found photography and appropriated imagery. On each page are three black and white images: the end two are square and each depicts the profile of a politician; they face each other but are separated by the rectangular image in the middle. Page after page this middle image is replaced by a new shot of an object, starting with a knife, followed by a gun, a rope, a plank of wood, and a chain. Slowly, these shift from murder tools to more humorous, or everyday, objects, including a banana peel, a dying spider plant, and a clothespin. Each is centered and shot against a simple, nondescript background, creating the clean, minimal layout Baldessari is widely known for.” -Provided by Printed Matter

Unbound book in a screen-printed cloth envelope closed with a safety pin. ”Benjamin M. Evans is a student of philosophy, art, and creative writing, currently living in Calgary. A Partial History of the S-Relation is his first major work of prose poetry and was originally part of an exhibition at the Little Gallery, along with nearly 300 works of art”--colophon.

"Egyptian uprising called for democratic reform. Tahrir Square in Cairo became the focal point and the most effective symbol of the protests in January and February 2011. For 18 days Egyptians repeated the slogan: The People Want to Bring down the Regime (al-sha`b yurid isqat al-nizam) until the regime stepped down on the 11th of February 2011. "This book focuses on the revolution slogan 'al-sha`b yurid isqat al-nizam.' Using Arabic Kufic script the words of the slogan are repeated in an ascending sequence. Section 19 contains the English translation for the slogan 'The People Want to Bring down the Regime.' The last section contains the time and date when the regime stepped down along with the sentence 'Al Saa'b Askat al Nezam' with its English translation 'The People have Brought down the Regime'. "Cairo's map is laser engraved on the book covers. Three edges of the book are colored then laser engraved to show the streets of Cairo."--artist's website.

"A 33 1/3 speed record in clear vinyl in a plastic container designed by Robert Rauschenberg. Back and front covers of the clear container are printed with Rauschenberg designs. A Rauschenberg designed rotating soft plastic disk is affixed on the outside of the front cover. When rotated it interacts with the record and the other printed designs. All music written by David Byrne and performed by the Talking Heads. A liitle yellowing to plastic packaging and tiny chips. record fine, unused. THIS AIN'T NO DISCO!" -Abe books Website

"Mama Does" is written on the cover and provides a sentence starter for the rest of the book. Woolfelt pages are appliquéd and embroidered to represent "Mama" performing tasks, including "the laundry," "the comforting," "the mending," and the cooking." The last page, "the traveling," is also appliquéd and embroidered but also includes a doll of "Mama" which can snap in and out of the page. On the back of the book, a final sentence ending, "As she pleases," suggests that "Mama does as she pleases."--Provided by artist.

"all i wanted was to get into heaven is a multi-sensorial book object that examines the complexities of a spiritual journey and its exodus. Combining archived family images, Mormon iconography, photographs from religious sites, and text from her own personal history, Gi (Ginny) Huo reimagines the past and present landscapes of being Mormon in Utah to navigate the traumatic legacies of religious systems. First-person, diaristic entries floating among clouds are punctuated by silver glitter sheets, Bible verses, and a stop-motion flip book, creating portals into peculiar spaces. These alternative topographies traverse nature’s multiple perspectives and dimensionality, rebuilding from the ruins of colonized myths to offer a threshold that leads to reconciliation and healing. Upon completion of reading the book, viewers are encouraged to press play on a music box holding a recording of Huo’s instrumental rendition of “I Need Thee Every Hour”." -Artist's Website

"'Your life Story' employs Apple iPhone technology as a means of producing an original transcript. The novel comprises 138 pages of loose narrative composed through the use of the predictive text function. Speaking in and out of random tangents, the work acts as a subliminal message board that talks about the Government, iOS updates, China and so on."--Artist's website.

The Binder and the Server is the outcome of several group discussions among Triple Canopy editors, and was written by senior editor Colby Chamberlain. The essay details the history of Triple Canopy in order to stake out our position on the ideology of Internet culture. By carefully examining the history of new-media publishing and the shift from disciplinary to control societies, the essay addresses the politics of online identity, friendship, labor, and the dream of digital democracy. In short: On the Internet, we are all contractors.
This pocket-sized edition of The Binder and the Server, designed by Franklin Vandiver, draws on experimental paperbacks of the 1960s, chief among them the collaborations of Marshall McLuhan and graphic designer Quentin Fiore. The book is characterized by cinematic layouts that merge text, typography, illustration, photography, and original artwork by Josh Kline and Dan Torop. -- triple canopy website

Missed Connections documents missed connections posted on Craigslist during and relating to the Occupy Wall Street movement. Missed connections are part of the personals section of Craigslist for people to search for a stranger they shared a moment with. The postings are sincere, raunchy, vulnerable, and absurd. Postings were collected from across North America.

"All the images in Negative Space are inverted from photographs taken by the Hubble space telescope." -- Colophon.

Bookmark inserted between pages 56-57 of Dr. No

"[La Véranda] comprises two identical books held together by a narrow, printed paper sleeve that folds around them. They are French translations of a short story by the American author Herman Melville (1819–91) written in the early 1850s, called The Piazza, which was published in a collection called The Piazza Tales in 1856. The copies produced for Graham’s work were translated by Philippe Hunt."--from TATE

This artist book is a rewriting of J.D. Salinger's Seymour: An Introduction with Malcolm X taking the place of the main protagonist, Seymour. The text is kept as close to Salinger's original as possible however the details of the life of Seymour have been changed to refer instead to the life of Malcolm X. - ensembles website.

Based on Christian Jankowski's horror works, this pocket book features a complete examination of the genre, including theoretical texts, interviews, transcripts from the pieces, and accompanying image material. --jrp website

"The preceding text is an index of John Dewey's 'Reconstruction in Philosophy (New York : Beacon, 1920), written by Helen Mirra in 2005/6." -- p. [283]

Catalog of an exhibition held at the New Museum, New York, July 17 - September 21, 2008.
"Catalog consists of the original book, enriched with images that have been hand-placed between the pages, and a new foldout dust jacket."
"After Nature is a book by W.G. Sebald. This publication is a tribute to his work." -- colophon

"One in a series of books documenting Gareth Long and Derek Sullivan's ongoing project in which the two artists methodically work their way through Gustave Flaubert's Dictionary of Received Ideas, illustrating every word using cleverly-chosen imagery gleaned from contemporary sources." The two artists intend eventually to illustrate all 950 entries in Flaubert's posthumously published satirical dictionary: for this limited edition galley, A-F, they illustrate only 'Abelard' through 'Fig leaf'.

"Publisher's note: In order to write The Tree of Codes, the author took an English language edition of Bruno Schulz's The Street of Crocodiles and cut into its pages, carving out a new story."
Artist's book with a unique die-cut on every page of the story.

‘Komma’, an artist book by Antonia Hirsch, is a modified facsimile of Dalton Trumbo’s 1938 anti-war novel ‘Johnny Got Hun Gun’. The original book, which describes a soldier who has lost all his limbs, his face and consequently the ability to communicate, gained particular resonance in the Vietnam War era, after its author had re-emerged from being blacklisted throughout the 1950s. While Trumbo wrote the book entirely without commas, Hirsch has reedited the novel to include the previously omitted punctuation according to ‘The Chicago Manual of Style’. The artist’s book is accompanied by a pamphlet with contextualizing essays by Maria Muhle and Kristina Lee Podesva. - ideabooks website

"Egyptian uprising called for democratic reform. Tahrir Square in Cairo became the focal point and the most effective symbol of the protests in January and February 2011. For 18 days Egyptians repeated the slogan: The People Want to Bring down the Regime (al-sha`b yurid isqat al-nizam) until the regime stepped down on the 11th of February 2011. "This book focuses on the revolution slogan 'al-sha`b yurid isqat al-nizam.' Using Arabic Kufic script the words of the slogan are repeated in an ascending sequence. Section 19 contains the English translation for the slogan 'The People Want to Bring down the Regime.' The last section contains the time and date when the regime stepped down along with the sentence 'Al Saa'b Askat al Nezam' with its English translation 'The People have Brought down the Regime'. "Cairo's map is laser engraved on the book covers. Three edges of the book are colored then laser engraved to show the streets of Cairo."--artist's website.

"This volume lays out the astonishing variety of Mayer's typographic work in numerous color illustrations and provides an introduction to its creation and conception with many statements from the artist." - catalogue summary

"This compendium of trademarks and symbols, designed from letters of the alphabet, contains over 500 examples from some of the world's leading designers and is part of a series which offers a wide survey of contemporary trademarks, corporate symbols and logo designs." -- catalogue summary

"Sigrid Calon’s letter-font originates from the simple grid of 81 dots on the cover. Letters Become Patterns starts by rendering each letter of the alphabet at the bottom right-hand corner at a maximum of three dots tall and two wide. The second page allotted per letter, opposite the intelligible rendering, takes the shape and reanimates it."--provided by publisher

"About Trees is an artist book by Katie Holten. It will be the first book in BDP's new series: Parapoetics - a Literature beyond the Human. Holten has created an alphabet from her tree drawings and made a new typeface called Trees. Registering a crisis of representation, About Trees considers our relationship with language, nature, information, drawing, ecology, memory, systems, and time in the Anthropocene"--Publisher's web site.

"The stories of resilience and resistance told here are mostly drawn from the vibrant 19th and 20th century history of quilting in North America when the tradition of communally making a patchwork quilt was firmly embedded in the artistic practice ... Inspired by Walker's landmark essay, this collection of radical quilting histories seeks to celebrate the ways quilts and quilters -- often excluded from histories of art or our lists of named artists -- reflect the hope and power of community"-- Introduction.
"Please be aware, some of these stories discuss abuse and violence"-- Introduction.

Fibre Stories is the home of stories and resources that have emerged from Fibreshed Field School.

SSS: How to imitate the sound of the shore using two hands and a carpet is, at first glance, exactly what it claims to be: an in-depth manual for staging a private (or public) performance, in which one uses both hands and a carpet to imitate the sounds of water making contact with land. Istanbul-based artist Cevdet Erek’s book includes diagrams and photographs, which illustrate possible methods for producing this effect, while also addressing theoretical and methodological issues related to the representation of nature. --publisher's website

”'Patterns' explores the anonymity inherent in urban space alongside the fear generated by the anonymous figure as other (anarchist/terrorist). Veiled faces/identities unsettle the norms of “transparency” in an era of the proliferation of unveiling resulting from the exhibitionism/voyeurism of social media. Veiled figures create anxiety amongst those who subscribe to these norma as truth (a version of the Heideggerian sense of alethea as dis/closure). The veiled interloper is thus unveiled as not being just another anonymous figure in the mass of urban density. What is seen and what is not seen, who is seen and who is not seen become points of legality (e.g. in the case of Bill C-309). This piece consists of two parts: photographs of people wearing knitted balaclavas against the backdrop of Vancouver’s areas of change/development/gentrification, and a poem de-/pre-scribing movement through the city streets as a political act (drawing on Paul Virilio’s theory of Dromology).”

“Loes Veenstra began knitting wool sweaters in 1955 and has never stopped since. To keep her hands busy, she created literally hundreds of sweaters in all sort of distinctive colours, patterns, styles and sizes – all of which are photographed and included here…The sweater are part of a larger project, ‘DNA Charlois’, which involves materials and crafts by people from 160 countries” - English Summary (p.1)

For "Identity Pitches", artists Cory Arcangel (born 1978) and Stine Janvin (born 1985) 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. A foreword and an interview between the two artists, both based in Stavanger, Norway, provide 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.

What is nature? How do we perceive it? How do we appropriate it, shape it? Anita Zumbühl (*1975) examines the relationship between man, nature and culture in her works. For this she uses found objects such as crystals, branches or mosses, as well as materials for home use such as cotton wool, wool and fabric. Internal and external landscapes meet and enter into dialogue with one another. The artist takes man as a measure, physically and psychologically, tracking down emotions and addressing the theme of human longings and anxieties in performances - with the artist group Salon Liz for example. Anita Zumbühl's work is informed by intuition and a spirit of inquiry. This involves testing, discarding and re-combining. For her latest dye works she shifted her studio outdoors and included nature in the dyeing process - in the form of wind and weather. Exhibition: Kunstmuseum Luzern, Switzerland (08.06. - 25.08.2019).

Diasporic Threads highlights Black women's contributions to art and history through fibre-related mediums. This publication surveys the history of Black women and textiles in North America, and spotlights five artists through a series of interviews, paying careful attention to the intersections of race, art, and cultural memory.

In 2005 Nadia Myre began a long-term exploration of how people describe their pain, hurt, healing, and scars with a needle and thread, and paper and pen. What emerged was The Scar Project, a viewer participatory open-lab/installation/exhibition where individuals could sit and ‘sew their wounds’, literal or metaphorical, on one of the canvases provided, and recount whether or not their scars could heal. This work, which consists of close to 500 scarred and sewn canvases and accompanying stories, documents a multitude of voices from all walks of life and age ranges.--publisher's description

Headdresses and coverings are among the most powerful vehicles of cultural identity, referring variously to nationality, gender, ethnicity, religion, profession and sub-culture. As part of a cultural identity, they can be used to distinguish or divide people, but may also serve as a constructive instrument that allows us to recognise mutual differences as a common value.0Cultural identity is continuously evolving. Photos and texts provide a vehicle to question prevailing dynamics of identity and identification, visual stereotypes and cultural representation. Daniela Dossi's long-term residency at the open and collective studio Manoeuvre, a multidisciplinary artist-run space in Ghent's Rabot neighbourhood, resulted in an open design method, a textile research project based on a visual and textual archive of headdresses from around the world, and a preliminary collection of hybrid headdresses. The super-diversity of the studio provided the ideal context for this research. Together with Dossi, participants from diverse backgrounds and origins made 800 textile samples by hand using different techniques. Based on this open system, new hybrid headdresses and narratives can be designed by remixing images, texts and textiles: what might the headdress of the first Mexican, female President of the United States look like, for example? 'Hybrid Heads' is a project by Daniela Dossi and Manoeuvre. It is also an exhibition, an interactive installation, a web platform and a design-educational programme.

Section 1A. The eye of the storm -- sect. 1B. Guggenheim international, 1971 -- sect. 2. Buren before Buren -- sect. 3A. North America in review -- sect. 3B. Arts & leisure -- sect. 3C. Architecture -- sect. 4. Travel -- sect. 5. Classifies.

"»Water-Yam« is a box containing [..] cards on which instructions, events, or single thoughts are printed in black lettering. Visitors and performers are free to interpret the events and implement the instructions in any way they choose, and the index cards are not organized according to a particular hierarchy."--from ZKM

"This deck of cards can be used as a musical score." -- Back cover

Approx. 150 separate leaves with a self-contained narrative text on one side and a typographical design on the other. The leaves can be read in any order. Issued in a drop-spine box.

Both an artist's book and comprehensive inquisition of D'Angelo Lovell Williams's work to date, Contact High offers an expansive engagement with the visualisation of desire and depiction of the Black body. Williams's narrative images reflect the many forms in which Black queer people exist and have existed historically within each other's lives, picturing them as sitters, lovers, caregivers, or shadows. Williams's work is guided by their life experience and an interrogation of their own perspective, as well as wider questions around the representation of race, class, sexuality, gender, and intimacy. The title Contact High references the importance of touch and gesture in Williams's work, and alludes to heightened senses and intuitive movement. From self-portraits to collaborations with community, Williams's photographs visualise the Black body in performative scenes that are theatrical, dance-like, and occasionally mundane, pointing towards collective histories and Black ancestral practices. At the heart of these intimate, dialogic images are notions of kinship and spirituality interweaved with quietly political and radical gestures. Williams's unfaltering gaze insists on visibility and deference, and creates scenes in which Black and queer voices are the authority. The dynamics that play out between families, cultures, friends, lovers, ancestors and descendants are visualised as a spectrum of care, tenderness, and vulnerability, speaking to the nuances of our complex lives often overlooked by historical depictions. -Printed Matter Website

Heart of a Shapeshifter: 2Spirit Love Medicine is a collection of poems, short essays, and prose by Coyote Park. It explores transformation, non-linear transitions, ancestor worship, diaspora, T4T romance, non-monogamy, queer awakenings, and various intersections of Park’s lived experiences. Woven throughout the collection are 8 Vessels, taking shape as themed chapters and representing lifetimes. Throughout these vessels, Coyote reflects on extensions of themself, their lovers, and what love medicine means to them. “Heart of a Shapeshifter” is born out of the passion of Brown leather dykes, Trans Deities, and the fierce and overflowing protection of Spirit. A collection of writing to all of those yearning to love and shapeshift freely. -Art Metropole

Kathy Slade’s Love Poem is made in homage to Michael Joseph Phillips’ “Graph of an Affair”, published in Third Assembling, a Collection of Otherwise Unpublishable Manuscripts, compiled by Richard Kostelanetz, Henry Korn, and Mike Metz in 1972. Slade’s attempts to recreate Phillips’ concrete poem were written on a Smith-Corona Skywriter manual typewriter with a faulty ribbon return and a tendency to jam. Each attempt here to complete the triangle of text has failed in a slightly different way. -Publication Studio Vancouver

A pamphlet in collaboration with Lola Lely, commissioned by William Morris Gallery and Rough Trade Books. Inspired by William Morris’ golden rule to “have nothing in your house you do not know to be useful or beautiful” Lola and Nina exchange thoughts on the ordinary and extraordinary, aesthetic and functional -Nina Chakrabarti Website

High school freshman Cecily Nicole Scott is looking for love in all the wrong places. She finds it first with Mike A in the back of his car. Then she meets Mike B, a “Professional Devirginizer.” Smart, tender, and depraved, IWDAFL is Spring Breakers meets Judy Blume. -Printed Matter Website

Published as limited paperback and an unlimited e-book, Paul Chan’s Phaedrus Pron recasts Plato’s legendary dialog on art, erotic love, and madness as unyielding sexual prose that stretches the limits of intelligibility and sense. “Written” by typesetting the original text with computer fonts created by Chan that transform the conventional alphabet into an array of erotic idiolects, Phaedrus Pron unfolds as a relentless exchange of erotic verse between philosopher and a young man in search of rhyme and reason. -Printed Matter Website

David Link generates interactive projects at the interface between art, science and technology. For one such project, titled "LoveLetters_1.0," Link reconstructed a functional replica of one of the earliest programmable computers, the Ferranti Mark I, and an equally early program, invented in 1952 by Christopher Strachey at the University of Manchester, in order to produce computer-generated love letters. Anonymously addressed to "Darling Love" or "Jewel Duck," the letters address the reader in a surprisingly human and tender way. -Artbook Website

”Steve’s Vinyl was an art installation and performance giveaway of the nearly two-hundred albums left to me by my late brother, Steve Busby (1953-1993). It took place at the Khyber Centre for the Arts. Steve was a gay man who died of AIDS-related illness. I planned Steve’s Vinyl for Dec 3, 2011 to coincide with World AIDS Day.I had kept these record albums in cardboard boxes, neither playing nor looking at them. After 18 years, I orchestrated this celebration to activate the albums, dispersing them and turning the weight of this collection into lightness. It was a tribute to Steve and his varied tastes in music, men, and identities. The Steve’s Vinyl book (2013) documents this event."--http://www.cathybusby.ca/stevesvinyl.php

"Coming Soon! documents Diyan Achjadi’s 2018-19 public art project for the City of Vancouver. The project was a site-specific interrogation of questions of value, temporality and labour. Each month for the period of one year, Achjadi produced a series of hand-printed posters and installed them onto the structures surrounding construction sites throughout the city, mirroring the landscapes around new developments themselves. Over the course of that time the posters--hand-drawn and hand-printed through laborious processes of silkscreen, etching, lithography and polymer plate relief--accumulated and, left to the effects of the elements and actions of passersby, decayed, were transformed by graffiti and even removed"--CAG website.

A Sign for the City is a public art project by Sabine Bitter & Helmut Weber that reassigns the meaning of Vancouver's Nine O'clock Gun. The twelve-pound cannon in Stanley Park is now fired nightly to mark the time. Previously it was fired to signal the close of the fishing day and as a navigational aid. For this project, each daily cannon blast is symbolically dedicated to a cultural, social, or political figure or event in Vancouver or BC's history relevant to that date. The project acoustically memorializes the politics that ground this history, towards imagining Vancouver as a socially and spatially just city.

”The bibliography, a list of books and published material, was produced following a period of residency at the Library of Emily Carr University of Art and Design in Vancouver, Canada. The time spent in the library consisted mainly in finding books in one place and putting them in another, temporarily reordering things. I was given free access to every parts of the library, from the storerooms to the special collections via the open stacks.” — introduction.

”This treasure map, or alternative guide book to the city of Vancouver is written for the wanderer. in the mode of Situationist International, this guide promotes the seeking of free or nearly free experiences. As many Vancouverites know, our city’s haunts and special places disappear every week. By the time you have acquired this map, one of this issue’s featured places may have been torn down, paved over or perhaps refurbished into something trendier and less accessible. Vancouver Treasure Map Series, Issue no.2 was printed in an edition of 70 on A4 printer paper, bound with the help of a sewing machine. The covers of this book are made of recycled money and have been generously provided by the Estonian Printing Museum in Tartu, Estonia. The book contains 5 maps covering 57 locations in the East Vancouver areas of Strathcona, False Creek Flats, Chinatown, Grandview Woodland & Hastings Sunrise. Vancouver Treasure Map, Issue no. 2 was produced with the generous support of Vancouver Foundation’s Downtown Eastside Small Arts Grants program. The DTES Small Arts Grants program is intended for artists who demonstrate a history of original art practice, and show a vital engagement with the DTES community.” — author’s website.

"Sensory Maps of the City of Vancouver, were commissionned by the City of Vancouver as part of the Mapping and Marking 2010 Artist-Initiated and Public Art Projects in corrilation with the Vancouver Olympics 2010. The resulting maps used the public transportation system of Vancouver and specifically interpretated the Seabus, twenty bus routes, and the complete Skytrain Millennium line. This project was a collaboration between Anna Ruth and Juho Jäppinen. Thirteen posters were displayed in bus-shelter advertisment placements around the city and the complete collection of drawings was later shown at the Emily Carr University's Concourse Gallery and published in a book by ECU Press in Vancouver, 2010."--artists' website.

"The receipts in 52 Transactions represent books Kathy Slade borrowed from the Vancouver Public Library from September 7, 2006 to August 30, 2007. -- Cover flap.

Features stories of old haunted Vancouver. The illustrations are especially ghoulish as they have been silkscreened with glow-in-the-dark ink. Waterfront Station -- 717 East Pender -- Beatty Street Drill -- Bollert Residence -- Orpheum Theatre -- Gabriola Mansion -- Century House -- Hycroft Mansion