Search results for ""Inventory Press LLC""

Ngô tackles the legacy of French colonialism in Vietnam through its invasive introduction of foreign trees and graftsHuong Ngô (born 1979) is a Hong Kongborn artist based in Santa Barbara. Her conceptual, research-based practice often takes the form of installation, printmaking and nontraditional mediums. Ungrafting looks at histories of colonial violence, specifically French colonialism in Vietnam, as well as resistance movements, through image-making, translations and material investigations. Ngô turns to a series of early 20th-century photographs showing foreign trees and tree grafts planted in Vietnam by the French. For the artist, graftinga procedure that involves cutting and splicing different species into a single plantserves as a powerful metaphor for the physical violence inherent in colonialism. An essay by Justin Quang Nguyên Phan, and conversations between Ngô and Aline Lo and Evyn Lê Espiritu Gandhi and Chadwick Allen, reflect on the conne

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Jordan Peele's powerful thriller Get Out debuted in 2017 to enormous public and critical acclaim, a Guess Who's Coming to Dinner? for the age of Obama and Trump that scared audiences and skewered white liberal pieties at the same time. Rather than rely on popular archetypes, Peele weaves together the material realities and daily manifestations of horror with sociopolitical fears and elements of true suspense, and combines them with pitch-perfect satire and a timely cultural critique. This companion paperback to the film presents the Peele's Oscar-winning screenplay alongside supplementary material. Featuring an essay by author and scholar Tananarive Due and in-depth annotations by the director, this publication is richly illustrated with more than 150 stills from the motion picture and presents alternate endings, deleted scenes and an inside look at the concepts and behind-the-scenes production of the film. Continuing in the legacy of 1960s paperbacks that documented the era's most significant avant-garde films such as Akira Kurosawa's Rashomon, Jean-Luc Godard's Masculin/Feminin and Michelangelo Antonioni's L'Avventurra Get Out is an indispensable guide to this pioneering and groundbreaking cinematic work.Jordan Peele (born 1979) is an American actor, comedian, writer, producer and director. Peele's directorial debut, Get Out (2017), earned him an Academy Award for Best Original screenplay as well as nominations for Best Picture and Best Director. In 2012, Peele founded Monkeypaw Productions, which amplifies marginalized voices and cultivates artistic, thought-provoking projects across film, television and digital platforms, including Peele's follow-up to Get Out, the thriller Us (2019).

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Matt Keegan interviews artists and commissions writing to reassess the 1990s as the moment when the Democratic Party abandoned its New Deal values and swung to the right In the wake of the Trump election, artist Matt Keegan (born 1976) began investigating the Democratic Party’s shifts over recent decades. In the late ’80s, members of the Democratic Leadership Council successfully moved the party’s platform to the right by including a pro-business, pro-military, interventionist agenda, and downplaying social infrastructure as a calculated break from its New Deal-era foundation. This shift led to Bill Clinton’s consecutive terms. 1996 captures this pivotal time in American politics and society through the experience of artists who completed their undergraduate studies in that year and voted for Clinton, and others who were born in 1996 and voted for the first time in 2016. Essays focus on cultural and ideological shifts from that time, such as the 1994 Crime Bill, 1996 Immigration Act, the Telecommunications Act, the start of Fox News and beyond.

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Molly Nesbit shows how American pragmatism has informed art theory from Meyer Schapiro to T.J. Clark and Linda Nochlin First published in 2013 and quickly going out of print, Molly Nesbit’s The Pragmatism in the History of Art traces the questions that modern art history and theory has used to make sense of the changes overtaking both art and life. Opening with a consideration of pragmatism’s origins in the thought of Charles Sanders Pierce, William James and John Dewey, the book examines the overlaps and disparities between art and philosophy across several generations of art historians, crossing back and forth over the Atlantic. A genealogy emerges through case studies on the work of Schapiro, Henri Focillon, Alexander Dorner, George Kubler, Robert Herbert, T.J. Clark and Linda Nochlin. The philosophy of Michel Foucault and Gilles Deleuze and the films of Chris Marker and Jean-Luc Godard also show distinctly pragmatic effects. Artists discussed include Vincent van Gogh, Isamu Noguchi, Lawrence Weiner and Gordon Matta-Clark. The Pragmatism in the History of Art precedes Midnight: The Tempest Essays in Nesbit’s Pre-Occupations series. Molly Nesbit is Professor in the Department of Art at Vassar College and a contributing editor of Artforum. Her other books include Atget's Seven Albums (1992) and Their Common Sense (2000).

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Endless Shout asks how, why and where performance and improvisation can take place inside a museum. The book documents a six-month series of experimental performances organized by the Institute of Contemporary Art, University of Pennsylvania, where five participants—Raúl de Nieves, Danielle Goldman, George Lewis, The Otolith Group and taisha paggett—collectively led a series of improvisation experiments. These include Miya Masaoka’s A Line Becomes a Circle, which pays tribute to Shiki Masaoka, a subversive Japanese haiku writer; jumatatu m. poe and Jerome “Donte” Beacham’s Let ‘im Move You, addressing the history of J-Sette, a dance form popularized at historically black colleges; and A Recital for Terry Admins by composer George Lewis. The book includes an essay by curator Anthony Elms, conversations with Jennie C. Jones and Wadada Leo Smith on themes of rhythm, rehearsal and improvisation, plus new works created specifically for the book, such as a script by The Otolith Group on blackness and digital color correction.

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Hackers, scholars, artists and activists of all regions, races and sexual orientations consider how humans might reconstruct themselves by way of technology When learning about internet history, we are taught to focus on engineering, the military-industrial complex and the grandfathers who created the architecture and protocol, but the internet is not only a network of cables, servers and computers. It is an environment that shapes and is shaped by its inhabitants and their use. The creation and use of the Cyberfeminism Index is a social and political act. It takes the name cyberfeminism as an umbrella, complicates it and pushes it into plain sight. Edited by designer, professor and researcher Mindy Seu (who began the project during a fellowship at the Harvard Law School’s Berkman Klein Center for the Internet & Society, later presenting it at the New Museum), it includes more than 1,000 short entries of radical techno-critical activism in a variety of media, including excerpts from academic articles and scholarly texts; descriptions of hackerspaces, digital rights activist groups, bio-hacktivism; and depictions of feminist net art and new media art. Contributors include: Skawennati, Charlotte Web, Melanie Hoff, Constanza Pina, Melissa Aguilar, Cornelia Sollfrank, Paola Ricaurte Quijano, Mary Maggic, Neema Githere, Helen Hester, Annie Goh, VNS Matrix, Klau Chinche / Klau Kinky and Irina Aristarkhova.

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A *New* Program for Graphic Design is the first Communication Design textbook expressly of and for the 21st century. Synthesizing the pragmatic with the experimental, this volume builds upon mid- to late-20th-century pedagogical models to convey advanced principles of contemporary design in an understandable form for students of all levels. David Reinfurt, a graphic designer, writer, educator and one half of design collaboration Dexter Sinister, has developed a graphic design curriculum at Princeton University in which three courses provide a broad and comprehensive introduction to the field for undergraduate students coming from a range of other disciplines. These courses Typography, Gestalt and Interface are the foundation of this book. Through a series of in-depth historical case studies (from Benjamin Franklin to the Macintosh computer) and assignments that progressively build in complexity, A *New* Program for Graphic Design serves as a practical guide for designers looking to understand and shape the increasingly networked world of information and design. As a cofounder of O-R-G inc. (2000), Dexter Sinister (2006) and The Serving Library (2012), graphic designer and teacher David Reinfurt (born 1971) has been involved in several studios and collectives that have reimagined graphic design, publishing and archiving in the 21st century. His work is included in the collections of the Walker Art Center, the Whitney Museum of American Art, the Cooper Hewitt National Design Museum and the Museum of Modern Art, but can also be accessed on a daily basis: he was the lead designer for the New York City MTA Metrocard vending machine interface, still in use today. Reinfurt teaches at Princeton University.

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Bio documents a 365-day project by US-based artist, poet and theorist Maryam Monalisa Gharavi, during which she updated the biography section of her Twitter account, the only untraceable and non-archived part of the program's superstructure, raising questions of power, self-deletion and visibility in the internet era.

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An archival collection of Camil's conceptual art and installations, incorporating themes of commerce, textile production and Latin American politicsThis is the first monograph dedicated to the practice of Mexican artist Pia Camil (born 1980). The book combines formal institutional documentation with material from the artist's personal archive to feature 32 projects from 2006 to date. Camil's work engages in a revisionist formal exercise that rethinks canonical figures in Western Art from a Latin American female perspective, while also setting her art within the socio-political realities of Mexico and the United States. The book was designed in collaboration between the artist and Mexican designer Sofia Broid and includes an addendum by Gabriela Jauregui. Three illustrated essays, as well as an interview with the artist, delve into Camil's practice. With English and Spanish texts, this book makes Camil's important contribution to feminist and Latin American ar

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On the late post-conceptual paintings of the influential artist and educator The Barbados-born, Seattle-based painter Denzil Hurley (1949–2021) was a quietly influential figure in the art world throughout his life, dedicating much of his time to teaching at the University of Washington and to championing other artists. Hurley’s interests in modular forms and structures involving squares and rectangles led him to consider the interconnectivity and conjunctions of paintings and signs, material and meaning, presence and absence, and the languages of painting and speech. Published in tandem with an exhibition of his work at Canada, this book is the first major publication on Hurley. The catalog focuses on Hurley’s final paintings, a mixture of reductive post-conceptual painting and provisional construction methods of the African diaspora, including his spare "stick" and "glyphs" series.

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Two decades of multimedia works and collaborations exploring the elusive edges of the material and the immaterial The sculptures, paintings, videos and installations of New York–based artist Mika Tajima (born 1975) explore the embodied experience of ortho-architectonic control and computational life. From architectural systems to ergonomic design to psychographic data, Tajima's works operate in the space between the immaterial and the tangible to create heightened encounters that target the senses and emotions of the viewer. This catalog includes full-color reproductions of Tajima’s work at the 2019 Okayama Art Summit; her early performances with Charles Atlas, Judith Butler and New Humans; and exhibitions at the Whitney Museum of American Art, the Hirshhorn Museum and Sculpture Garden, Palais de Tokyo, Paris, and Borusan Contemporary, Istanbul, among other international venues. Also included are texts and an interview with the artist.

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Transnational cultural hybrids of the Afro-Atlantic The first full-length monograph of Houston-based visual artist Jamal Cyrus (born 1973), this publication features an overview of Cyrus’ practice of cobbling modern artifacts that trace the evolution of Black identity as it migrates across the African Diaspora, Middle Passage, jazz age and civil rights movements from the 1960s to now. Published to accompany Cyrus’ first career survey exhibition at the Blaffer Art Museum, the catalog includes materially diverse and conceptually charged textile-based pieces, assemblages, performances, installations, paintings and works on paper produced in the past two decades, including his ongoing Pride Records installation series. Together, these multidisciplinary artworks demonstrate Cyrus’ commemoration, translation and reactivation of sociopolitical struggles in African American history—forging a revised chronicle of histories, hybridity and redemption.

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Building upon the 2017 Ballroom Marfa exhibition Strange Attractor organized by sound artist and curator Gryphon Rue, this book brings together an interdisciplinary group of artists and practitioners to investigate the chaos, connections, and interpretations that narrate everyday experiences. Artists include Alexander Calder, Channa Horwitz, Lucky Dragons and Mark Lombardi, among others.

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Documenting Louise Nevelson's first museum retrospective In 1967, for her first museum retrospective, Louise Nevelson (1899–1988) was given carte blanche to transform the Rose Art Museum at Brandeis University into an all-emcompassing, theatrical environment for her sculpture. Nevelson installed her show across the whole museum, draping the walls of the permanent collection with the colors that reflected the black, white, gold and navy palette of her works. Louise Nevelson: I Must Recompose the Environment includes previously unpublished exhibition layouts (annotated by Nevelson), installation photographs and texts that place this show in the context of Nevelson's career and the museum’s early history. This publication accompanies the now out-of-print catalog of the 1967 show organized in collaboration with the Whitney Museum and serves as a document both of the then-nascent museum and the solidifying legacy of an artistic icon.

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Steven Leiber was a pioneering San Francisco art dealer, collector and gallerist who specialized in the dematerialized art practices of the 1960s and 1970s and the ephemera and documentation spawned by conceptual art and other postwar movements. To sell this material, Leiber produced a series of 52 iconic catalogues between 1992 and 2010. Far from your ordinary dealer catalog, Leiber's catalogs paid homage to the kind of historic printed matter that he bought and sold, mimicking iconic publications like Wallace Berman's Semina journal and the exhibition catalog for Documenta V (1972). Leiber's reputation spread via these unique volumes, which included works by John Baldessari, Lynda Benglis, Ray Johnson, Lucy Lippard, Allan Kaprow, Yayoi Kusama, Claes Oldenburg, Ed Ruscha, Lawrence Weiner and many more. Across 252 pages, this book documents the full set of 52 dealer catalogs produced by Steven Leiber between 1992 and 2010. Inspired by Leiber's often humorous borrowing for his catalog designs, the book's format references Sol Lewitt's Autobiography and includes an essay and contextual notes by SFMOMA Head Librarian David Senior. Additional contributors include Ann Butler, Christophe Cherix, Marc Fischer, Tom Patchett, David Platzker, Marcia Reed, Lawrence Rinder and Robin Wright. Steven Leiber (1957 2012) began to buy and sell ephemera while working as a private dealer selling prints, drawings and multiples in the early 1980s. Scrupulously organized and cataloged, Leiber's collection housed in his grandmother's basement became an important resource for scholars, curators and other enthusiasts. The collection included the work of some 1,000 artists and represented basically every major movement within late 20th-century avant-garde practice, including Fluxus, conceptual art, land art, mail art, performance and video.

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An artist’s book compendium of the Hammer’s Museum’s entire incoming mail, designed in the style of a mail-order catalog For Mail, Los Angeles–based artist Mungo Thomson (born 1969) asked the Hammer Museum in Los Angeles to let its incoming mail accumulate unopened during the run of the exhibition. Over the course of the show a pile of correspondence and packages grew, forming a temporary archive. This book functions both as an artwork and as an elaborate and exhaustive documentation of the work as realized by the artist. Every letter, package, notice, magazine, flyer, restaurant menu, exhibition postcard, vendor catalog and piece of junk mail is represented. Featuring an essay by Hammer Museum curator Aram Moshayedi, Mail performs a kind of autopsy of the sculpture, displaying every facet and revealing the infrastructure of both the artwork and the museum. The design of the book loosely mimics a popular mail-order catalog, and Thomson’s photography of the items in the mail pile at the Hammer was undertaken with this catalog design in mind.

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Fifty years of Mary Obering’s deft blend of Old Master techniques and Minimalist principles A historical overview of New York–based painter Mary Obering (born 1937) from 1972 to 2012, this volume explores the artist’s geometric abstraction that draws on Renaissance techniques. Born in Shreveport, Louisiana, in 1937, Obering studied experimental psychology at Hollins College and Harvard University before pursuing an MFA at the University of Denver. The artist moved to SoHo in the early 1970s, where she was quickly included in exhibitions such as a 1973 Carl Andre–curated exhibition at Artists Space and the second ever Whitney Biennial in 1975. This publication celebrates nearly a half century of the artist’s career, featuring the distinct series within her oeuvre. It highlights developments in Obering’s practice with materials, methods and inspirations ranging from Italian Old Masters to her studies of science. Mary Obering includes essays from curator Lynn Zelevansky and writer Matthew Levy, as well as installation documentation and photography of the artist’s studio.

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Documenting an artist couple's site-specific exhibition at Frank Lloyd Wright's historic East Hollywood Hollyhock HouseDesigned by Frank Lloyd Wright as the centerpiece of an arts complex that was only partially realized, Hollyhock House has served as a home, an art club, a social club and a house museum. Entanglements, staged within the site, featured new works by a Los Angelesbased artist couple: painter Louise Bonnet (born 1970) and sculptor Adam Silverman (born 1963). Installed within the rooms and spaces of Hollyhock House, Bonnet's paintings and Silverman's ceramics engaged with the house's 100-year history as a platform for artistic experimentation. Their joint exhibition foregrounded the many entanglements of a given place, broadening perspectives on this California house and its layered history. This book documents the pieces as they were installed in Hollyhock House, and features conversations between artists, architects, chefs, friends and l

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A celebration of multicultural collaboration through contemporary ceramics and exquisite ikebana arrangements Adam Silverman creates ambitious ceramic work with site-specific materials that engage their places of origin. Similar to a chef cooking with local ingredients, his works are infused with the history, culture, issues and spirit of a place. In the fall of 2019, before the coronavirus pandemic swept the globe, Silverman began a project to address the political and cultural divisions in America. Silverman collected materials (clay, wood ash and water) from every state and inhabited US territory and combined them into a single, new, fully integrated material. This material was then used to create 56 ceremonial vessels that celebrate the nation’s diversity and the idea of radical inclusivity. A series of 56 Ikebana arrangements made by teachers and students at Sogetsu Ikebana Los Angeles are placed in Silverman’s vessels, creating a powerful pairing of American materials and symbols with Japanese traditions. Adam Silverman (born 1963) is a Los Angeles–based artist known for his experimental processes and resulting sculptural vessels. He is regarded as one of the most dynamic practitioners dedicated to ceramics today. Silverman received bachelor degrees in both fine art and architecture from the Rhode Island School of Design.

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An exploration of decolonial, feminist and personal themes in the West Texas landscape through Huanca’s painting and sculpture The latest volume from Chicago-born, Berlin-based multimedia artist Donna Huanca (born 1980) engages with the landscape of West Texas, while also drawing on visual, cultural and mythological cues informed by feminism, decolonialism and the artist’s personal histories. Documenting the exhibition of the same name at Ballroom Marfa (the title of which translates to “burnt mirror”), the bilingual English and Spanish catalog is an exploration of Huanca’s first memories of Marfa, Texas. Created during the pandemic, Espejo Quemada moves away from Huanca’s live public performance work and focuses on the performative presence inherent in her sculptures and paintings, including the use of mirrors. With essays from Ballroom Marfa curator Daisy Nam, Whitney Museum of Art associate curator Marcela Guerrero and poet Raquel Gutiérrez, alongside the transcription of a walkthrough by poet and cultural critic Roberto Tejada, Espejo Quemada reminds us that the sentient body is a potent source and repository of memory, intuitive knowledge, imagination and desire.

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With a rich, immersive design, this clothbound monograph reveals the fault lines of race, colonialism and empire that haunt the present Borrowing its title from Herodotus’ fifth-century work, this publication documents a cycle of three works collectively titled The Histories, by artist David Hartt (born 1967). Focusing on the Americas and the Caribbean during the 19th century, Hartt explores real and imagined landscapes informed by the work of Martin Johnson Heade, Robert S. Duncanson, Michel-Jean Cazabon and Frederic Church. His contemporary interpretations use video, tapestry and sculpture alongside musical collaborations with Girma Yifrashewa, Van Dyke Parks and Stefan Betke. The first work, Le Mancenillier, sited in the Frank Lloyd Wright–designed Beth Sholom Synagogue, was filmed and photographed in Haiti and New Orleans. The second, Old Black Joe, in Trinidad and Ohio, and the final work, Crépuscule, commissioned by the Philadelphia Museum of Art, was made in Jamaica and Newfoundland. The Histories reveals the complex entanglement of peoples and cultures as place is explored.

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Surreal, psychedelic riffs on domestic objects from a trailblazing feminist artist From her beginning in the mid-1960s through the early ’70s, German artist Anna Oppermann (1940–1993)—best known for her encyclopedic, immersive installations—created an astonishing series of surreal, almost psychedelic drawings that quietly explode the private space of the home, and her experience within it. These early drawings contribute to a feminist reentering of spheres traditionally associated with women, casting everyday objects as symbolic, consequential protagonists: houseplants sprawl to take over the picture plane, windows and mirrors provide views into other worlds and tables display drawings that themselves open out into new domestic scenes. By placing her own body—her knees, arms, the back of her head—as reference points in the work, Oppermann emphasizes the gendered realms of the home and the relationships that we form to our private spaces. This volume gathers these drawings and early installations in an English-language publication for the first time.

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A detailed account of Ant Farm’s 1975 Media Burn performance, a legendary act of consumerist critique This book examines the complex set of cultural references and art-making strategies informing Ant Farm’s seminal 1975 performance Media Burn in which a customized Cadillac, dubbed the Phantom Dream Car, was driven through a wall of burning television sets. Originally conceived as a conceptual architectural practice, Ant Farm evolved into a full-service art collaborative, culminating in such notable works as House of the Century (1971-73), Cadillac Ranch (1974) and The Eternal Frame (1975). In Media Burn the artists flourished in a rich tumult of ideas that engaged contemporary media theory, an oddly complicated aesthetic spectacle, textual appropriation and an all-encompassing branding effort. Written by Steve Seid (Berkeley Art Museum/Pacific Film Archive), and drawing upon a rich visual documentation, this book delves into the little-known critical backstory to this influential performance (and video work) involving a massive effort to mount a subversive critique of media hegemony while continually re-imagining the crux of the performance itself.

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In this volume, theorist and sound artist Micah Silver addresses the impact of sound on human behavior and social space. Silver’s research ranges from Yves Klein’s Air Architecture to La Monte Young’s Dream House, and culminates in a discussion of historically significant sound systems, from discos, Monterey and Woodstock to the GRM studio, and their physical and experiential impacts, such as the Grateful Dead’s famous Wall of Sound custom PA. Disambiguating sound from audio, Silver defines sound as “the domain of physics” in order to examine its phenomenology in the world, and audio as a process “that employs technology to construct temporary social architectures made of air.” Micah Silver is an artist and curator who studied music at Wesleyan and in MIT’s Art, Culture, and Technology program. His installation and performance work has been produced by Mass MoCA, ISSUE Project Room, Palais de Tokyo in Paris and OK Zentrum, among other venues in the US and internationally.

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Collaborative conversations on Indigenous performance art, convened by a leading practitioner For Breaking Protocol, transdisciplinary artist Maria Hupfield embarked on a research project on the protocols of Indigenous performance—tracing Indigenous knowledge systems, land-preservation practices and feminist scholarship to illuminate strategies for enacting refusal within decolonial frameworks. The book draws from Hupfield’s “coffee breaks”—conversations held over Zoom during the pandemic, in which Hupfield invited international Indigenous performance artists to discuss their work (from dance to stand-up comedy), who in turn invited other artists to join the conversations. Building on these exchanges, Breaking Protocol asks what we can learn from Indigenous, place-based artistic modes of making and practice to open spaces for reciprocity and multiplicity. Contributors include: Rebecca Belmore, Lori Blondeau, Pelenakeke Brown, Katherine Carl, Re’al Christian, Christen Clifford, TJ Cuthand, Vanessa Dion Fletcher, Akiko Ichikawa, Suzanne Kite, Charles Koroneho, Carin Kuoni, Cheryl L’Hirondelle, Gabrielle L’Hirondelle Hill, Jackson 2Bears Leween, Tanya Lukin Linklater, Cathy Mattes, Meagan Musseau, Julie Nagam, Wanda Nanibush, Peter Morin, Archer Pechawis, Rosanna Raymond, Skeena Reece, Georgiana Uhlyarik, Charlene Vickers and Laakkuluk Williamson Bathory.

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Artists from Francis Alys to the Otolith Group meditate on the aesthetic and political possibilities of “the percussive” Accompanying the 2022 exhibition at Wattis Institute for Contemporary Arts in San Francisco, Drum Listens to Heart reflects on the many ways that percussion exists beyond the framework of music and imagines “the percussive” as an aesthetic, expressive and political form more broadly. The publication includes a new essay by the curator, images of the works in the exhibition by the 25 artists and artist collectives, and short texts by 10 scholars, writers, artists and curators who respond to a single word to create a “glossary” of terms associated with percussion. Artists include: Francis Alÿs, Luke Anguhadluq, Marcos Ávila Forero, Raven Chacon, Em’kal Eyongakpa, Theaster Gates, Milford Graves, David Hammons, Consuelo Tupper Hernández, Susan Howe & David Grubbs, NIC Kay, Barry Le Va, Rose Lowder, Lee Lozano, Guadalupe Maravilla, Harold Mendez, Rie Nakajima, the Otolith Group, Lucy Raven, Davina Semo, Michael E. Smith, Haegue Yang and David Zink Yi. Live performances by Elysia Crampton Chuquimia, Moor Mother, Nkisi, Nomon, Karen Stackpole, Marshall Trammell and William Winant.

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Celebrating an artistic and intellectual friendship This book encompasses a broad range of conversations between Jan Tumlir and Jorge Pardo, which span a period of 20 years, beginning in 1999. Cuban-born, Mexico-based artist Jorge Pardo (born 1963) explores the intersection of contemporary painting, design, sculpture and architecture. Employing a broad palette of vibrant colors, eclectic patterns, and natural and industrial materials, Pardo’s works range from murals to home furnishings to collages to larger-than-life fabrications. Here in conversation with art writer, teacher and curator Jan Tumlir (born 1962), he discusses contemporary art, design, publishing and music. The conversations also connect to the varied contexts of Los Angeles and Merida, Mexico, where they took place. The result is a story of a unique intellectual friendship that has helped define both of their thinking and practice.

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A collective history of the 1980s anti-imperialist campaign In the early 1980s, a group of artists, writers and activists came together in New York City to form Artists Call Against US Intervention in Central America, a creative campaign that mobilized nationwide in an effort to bring attention to the US government’s violent involvement in Latin American nations such as Nicaragua and El Salvador. Together the group staged over 200 exhibitions, concerts and other public events in a single year, raising awareness and funds for those disenfranchised by such political crises. Art for the Future illuminates the history of Artists Call with archival pieces and newly commissioned work in the spirit of the group’s message. In Spanish and English, a wide selection of artists and organizers examine the group’s history as well as the issues that were as urgent to Artists Call in 1984 as they are now: decolonization, Indigeneity, collectivity, human rights and self-determination. Artists include: Antena Aire, Benvenuto Chavajay, Leon Golub, Hans Haacke, Fredman Barahona & Christian Dietkus Lord, Sandra Monterroso, Carlos Motta, Claes Oldenburg, Gregory Sholette and Coosje van Bruggen, Maria Thereza Alves, Sabra Moore, Jerri Allyn, Dona Ann McAdams, Rudolf Baranik, Susan Meiselas, Alfredo Jaar, Martha Rosler, Jesús Romeo Galdámez and Jimmie Durham.

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“A colorful, digestible guide to the late 21st century and the role that architects play or don't play in shaping our collective understanding of citizenship.” –Inc Globalization, technology and politics have altered the definition and expectations of citizenship and the right to place. Dimensions of Citizenship documents contributions from the seven firms selected to represent the United States in the 2018 Venice Architecture Biennale. This highly readable, visually led paperback volume profiles and illustrates each of the US Pavilion contributions and contextualizes them in terms of scale. Drawing inspiration from the Eames' Power of Ten, Dimensions of Citizenship provides a view of belonging across seven stages starting with the individual (Citizen), then the collective (Civic, Region, Nation) and expanding to include all phases of contemporary society, real and projected (Globe, Network, Cosmos). With contributions by Amanda Williams and Andres L. Hernandez in collaboration with Shani Crowe; Design Earth; Diller Scofidio + Renfro, Laura Kurgan and Robert Pietrusko, with Columbia Center for Spatial Research; Estudio Teddy Cruz + Fonna Forman; Keller Easterling; SCAPE; Studio Gang; exhibition curators Niall Atkinson, Ann Lui, Mimi Zeiger; and others. The book is published with seven different covers.

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This is the first significant publication to explore the output of Matt Keegan, the New York-based artist known for his work across mediums, as well as independent publishing including the acclaimed editioned art journal North Drive Press. This monograph expands on a recent solo exhibition by the artist at Rogaland Kunstsenter; Stavanger, Norway, titled “Portable Document Format.” The show was organized as an idiosyncratic retrospective, with Keegan remaking sculptures dating from 2006 to 2015, initially fabricated in Sheetrock and steel, in cardboard. Like the exhibition, the publication serves both as a project and a reference for the artist’s work. Essays by Tom McDonough and John Miller theorize Keegan’s production, while interviews with Sara VanDerBeek and Anna Craycroft underscore the artist’s ongoing engagement with his peer group. Furthered by contributions from colleagues Uri Aran, Leslie Hewitt and James Richards, situated alongside full-color installation photos and reproductions of work from the past decade, Matt Keegan: OR provides a solid introduction and layered overview of the artist’s multifarious practice.

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Lapinski’s gorgeously produced objects constitute a symbolic universe exploring the production of desire and meaning This is the most comprehensive monograph to date on Los Angeles–based artist Lisa Lapinski (born 1967), celebrated for her formally complex sculpture in a variety of mediums—including wood, wire, cement and clay—in addition to painting, photography, drawing and found material, often containing philosophical and historical references. Published on the occasion of Lisa Lapinski: Drunk Hawking, her 2020 midcareer survey at the Visual Arts Center (VAC) at the University of Texas at Austin, Lisa Lapinski: Miss Swiss includes previously unpublished images of Lapinski’s exhibitions and artworks from 2000 to the present. It also features contributions by Bruce Hainley, Graham Bader, Kyle Dancewicz, Sabrina Tarasoff and MacKenzie Stevens, as well as a conversation between the artist and linguist Viola Schmitt.

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A two-decade survey conceived as an inventory of materials This volume collects two decades of work by Brooklyn-based artist Sara Greenberger Rafferty (born 1978), known for her material transformation of photographs and use of comedy as artistic strategy. The book is organized by material sensibilities around paper, plastic, glass, metal, fabric scraps and "garbage." Studio Visit reconfigures the format of a monograph, sharing roughly 20 years of artwork through intimate studio documentation, sketches, notes and other ephemera. This chronology is punctuated by full-color case studies of major works in photography, sculpture and installation. With image descriptions by art historian Kate Nesin, Studio Visit also includes new writing by Kristan Kennedy and Oscar Bedford, as well as reprinted texts by poet Lisa Robertson, media scholar Shannon Mattern and more. Studio Visit surveys Sara Greenberger Rafferty's cultural commentary through dynamic and conceptually rigorous art.

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The first monograph for Los Angeles based artist Anthony Pearson (born 1969) documents nearly 15 years of monochromatic photographs, sculptures and multimedia works. The book documents Pearson's studio and includes artist's reflections and a curatorial essay tracing his varied cultural influences including music and the culture of Southern California.

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On Californian artist-filmmaker Margaret Honda’s sculptural reprise of a Renaissance oddity This volume documents Frog, a five-foot-long anatomical frog sculpture by Los Angeles–based experimental filmmaker and artist Margaret Honda (born 1961), inspired by the gargantuan frog in Bramantino’s Madonna delle Torri (1520).

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Midnight: The Tempest Essays, the second book in Molly Nesbit’s Pre-Occupations series, returns the question of pragmatism to the everyday critical practice of the art historian working in the late 20th century. These essays take their cues from the work of specific artists and writers, beginning in the late 1960s, a time when critical commentary found itself in a political and philosophical crisis. Illustrated case studies on Eugène Atget, Marcel Duchamp, Jean-Luc Godard, Cindy Sherman, Louise Lawler, Rachel Whiteread, Gabriel Orozco, Rirkrit Tiravanija, Lawrence Weiner, Nancy Spero, Rem Koolhaas, Martha Rosler, Gerhard Richter, Matthew Barney and Richard Serra, among others, continue the legacy of a pragmatism that has endured while debates over postmodernism and French philosophy raged.

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