4 1/4 × 7 inches, 224 pages, softcover
ISBN 978-1-941753-28-6

Introduction by Tananarive Due
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"An exhilaratingly smart and scary freak out about a black man in a white nightmare." — Manohla Dargis, New York Times

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 timely cultural critique.

This companion paperback to the film presents 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’Avventura—Get Out is an indispensable guide to this pioneering and groundbreaking cinematic work.

Jordan Peele (born 1979) is an American writer, director and producer. 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 traditionally underrepresented voices and unpacks contemporary social issues, while cultivating artistic, thought-provoking projects across film, television and digital platforms, including Peele’s follow-up to Get Out, the critically acclaimed horror epic, Us (2019).

6 × 9 inches, 256 pages, softcover
ISBN 978-1-941753-21-7

Foreword by Adam Michaels
Introduction by Ellen Lupton

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Co-published by
Distributed Art Publishers / D.A.P

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“At a moment of tremendous technological and cultural change, David Reinfurt makes the case that graphic design is not merely a craft, but a fundamental way to understand and engage with the world. Discursive, expansive, and inspiring, this book redefines its subject and provides an indispensable guide to how it might be practiced.”
—Michael Bierut (Partner, Pentagram New York)

“David Reinfurt's new book provides … in depth access to a historical analysis, exquisite close-focus portraits of multi-talented creative makers past and present, alongside his own research and examples of his class assignments. This intelligent book contains new insights regarding graphic design history, thought, and practice. This book is a reminder of Walt Whitman’s call for "a force infusion of intellect" to confront the future.”
—Sheila Levrant de Bretteville (Director, Yale University Graduate Program in Graphic Design)

A *New* Program for Graphic Design is the first Communication Design text book expressly of and for the 21st century. Synthesizing the pragmatic with the experimental, A *New* Program for Graphic Design builds upon mid- to late-20th-century pedagogical models to convey advanced principles in an understandable form for students of all levels.

David Reinfurt, a graphic designer, writer, and educator, has developed a design curriculum at Princeton University in which three courses provide a broad and comprehensive introduction to the field for 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 and assignments that progressively build in complexity, the book serves as a practical guide to visually understanding and shaping the increasingly networked world of information and design.


David Reinfurt (born 1971), a graphic designer, writer and educator, reestablished the Typography Studio at Princeton University and introduced the study of graphic design. Previously, he held positions at Columbia University Graduate School of Architecture, Planning and Preservation, Rhode Island School of Design and Yale University School of Art. As a cofounder of O-R-G inc. (2000), Dexter Sinister (2006) and the Serving Library (2012), Reinfurt has been involved in several studios that have reimagined graphic design, publishing and archiving in the 21st century. He was the lead designer for the New York City MTA Metrocard vending machine interface, still in use today. His work is included in the collections of the Walker Art Center, Whitney Museum of American Art, Cooper Hewitt National Design Museum and the Museum of Modern Art. He is the co-author of Muriel Cooper (MIT Press, 2017), a book about the pioneering designer.

6 1/2 × 9 1/2, 240 pages, softcover
ISBN 978-1-941753-25-5
Design by Danielle Aubert
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"Danielle Aubert’s history of the Detroit Printing Co-op offers a refreshing example of graphic design as it was practiced in the most alternative of ways—not only outside of the mainstream design profession, but also against the prevailing capitalist economy premised on private ownership. For enthusiasts of graphic design, Fredy Perlman’s unexpected visually inventive designs for politically salient works offer a much needed example of how self-publishing and DIY printing, so in vogue today, can be used to not just make something, but to also say something." —Andrew Blauvelt, Director, Cranbrook Museum of Art

In 1969, shortly after moving to Detroit, Lorraine and Fredy Perlman and a group of kindred spirits purchased a printing press from a defunct militant printer and the Detroit Printing Co-op was born. The Co-op would print the first English translation of Guy Debord’s Society of the Spectacle and journals like Radical America, formed by the Students for a Democratic Society; books such as The Political Thought of James Forman printed by the League of Revolutionary Black Workers; and the occasional broadsheet, such as Judy Campbell’s stirring indictment, “Open letter from ‘white bitch’ to the black youths who beat up on me and my friend.”

Fredy Perlman was not a printer or a designer by training, but was deeply engaged in ideas, issues, processes, and the materiality of printing. His exploration of overprinting, collage techniques, varied paper stocks, and other experiments underscores the pride of craft behind these calls to action and class consciousness.

Building on in-depth research conducted by Danielle Aubert, a Detroit-based designer, educator, and the author of Thank you for the view, Mr. Mies, this book explores the history, output and legacy of the Perlmans and the Co-op in a highly illustrated testament to the power of printing, publishing, design, and distribution.

7 1/2 × 9 3/4 inches, 208 pages, hardcover
ISBN 978-1-941753-26-2
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The Museum of Capitalism—a traveling exhibition that has been hosted in Oakland and Boston and is now opening in New York City—treats capitalism as a historical phenomenon. This speculative institution views the present and recent past from the implied perspective of a future society in which our economic and political system is memorialized, and subjected to the museological gaze.

Sketches and renderings of exhibits and artifacts, combined with relevant quotations from historical sources, are interspersed with speculative essays on the intersections of ecology, race, museology, historiography, economics and politics.

Included are representations of artworks and museum exhibits created by artists Oliver Ressler, Sayler/Morris, Dread Scott, Temporary Services, and others, original Isotype graphics drawn from the Museum’s lexicon of “capitalisms,” and texts from Lucy Lippard, Lester K. Spence, T.J. Demos, Chantal Mouffe, McKenzie Wark and Kim Stanley Robinson, among others.

This expanded 2nd edition includes additional documentation of the exhibition as well as new contributions from Jodi Dean, Ben Davis, Madeline Lane-McKinley, Nina Power, Abigail Satinsky, Simon Sheikh, and FICTILIS.

13.375 × 8.375 inches, 112 pages, softcover
ISBN 978-1-941753-32-3

Design by Chad Kloepfer
Co-published by
Carpenter Center for the Visual Arts at Harvard University

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Published on the occasion of her first solo show in the United States in twenty years, Anna Oppermann: Drawings surveys the early drawings of this underrecognized German artist. Co-published with the Carpenter Center for the Visual Arts, this book is the first on Oppermann produced in the United States and features a number of new texts on her work by Connie Butler, Chief Curator, Hammer Museum, UCLA; Meta Marina Beeck, Assistant Curator, Kunsthalle Bielefeld; and a conversation between Carpenter Center director Dan Byers and Ute Vorkoeper, Curator, Anna Oppermann Estate.

Beginning in the mid-1960s through the early ‘70s, Oppermann (1940–1993), best known for her immersive installations, created an astonishing series of surreal drawings that uniquely explode the private space of the home, a traditionally feminine sphere.

These early drawings contribute to a feminist re-centering of such spaces 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 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 coaxes the viewer to take on her subjectivity and perspective, emphasizing the gendered realms of the home and the relationships that we form both within and to our private spaces.

8.5 x 10.25 inches, 496 pages, softcover
ISBN 978-1-941753-34-7

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For Mail, artist Mungo Thomson (b. 1969, Davis, CA) asked The Hammer Museum in Los Angeles to let their incoming mail accumulate unopened during the run of the 2013 exhibition, Stories for Almost Everyone. Over the course of the show a pile of correspondence and packages grew, forming a temporary archive and timepiece. It is part sculpture, part institutional critique, part clock.

The book functions both as an artwork and as an elaborate and exhaustive documentation of the work as realized by the artist. 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. Thomson’s photography of the items in the mail pile at the Hammer was undertaken with this catalog design in mind. Every letter, package, notice, magazine, flyer, restaurant menu, exhibition postcard, vendor catalog and piece of junk mail is represented. Further, collections of like things have been arranged and photographed on a seamless backdrop in the style of product photography for a vendor catalog.

6 x 9 inches, 128 pages, hardcover
ISBN 978-1-941753-27-9

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Distributed Art Publishers I D.A.P

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“Nesbit proceeded to write her own, most beautiful and original book about Cubism and Marcel Duchamp, a masterpiece in several genres, barely assimilable—as she predicted—by the academic discipline of art history.” — Christopher Wood, Artforum

The pragmatism of Charles Peirce and William James and John Dewey exists as it moved, absorbing and absorbed. Conclusions remain provisions, time riding on, perpetually unsettled, nocturnal, opaque. Many questions and conditions remain. They will recur. The future has not eased. In our own lifetime there have been stakes, some old, some new, in continuing to write about the time and place and point of art. It is important to mark them. Pragmatism is above all a way of working, it starts from the present

First published in 2013 and quickly going out of print, The Pragmatism in the History of Art traces the questions that modern art history has used to make sense of the changes overtaking both art and life. A genealogy emerges naturally, elliptically. Several generations cross back and forth over the Atlantic. The questions combine with case studies as a story unfolds: the work of Meyer Schapiro, Henri Focillon, Alexander Dorner, George Kubler, Robert Herbert, T. J. Clark and Linda Nochlin is scrutinized; the philosophy of Michel Foucault and Gilles Deleuze and the lms of Chris Marker and Jean-Luc Godard show distinctly pragmatic e ects; artists discussed include Vincent Van Gogh, Isamu Noguchi, Lawrence Weiner and Gordon Matta-Clark. The relevance of this material for the art and art-writing of our own time becomes increasingly clear.

Molly Nesbit is Professor in the Department of Art at Vassar College and a contributing editor of Artforum. This is the first book in her Pre-Occupations series, preceding Midnight: the Tempest Essays.

4.75 × 6.75 in. with gatefold, 96 pages, softcover
ISBN 978-1-941753-31-6

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Co-published by
Carnegie Museum of Art

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For the 82nd installment of Carnegie Museum of Art’s Forum series, Los Angeles–based artist Margaret Honda (b. 1961, San Diego) created a singular, enigmatic sculpture, a frog rendered in lifelike detail, including internal organs and measuring nearly five feet long.

The work is modeled after a frog-like form Honda observed in a Renaissance painting at the Pinacoteca Ambrosiana in Milan. The painting, Bramantino’s Madonna delle Torri (1520), depicts the Madonna and Child enthroned; at their feet lies a slain man and a gargantuan frog with anthropomorphic features. At once material and philosophical, Honda’s sculpture prompts us to ponder our relationship to art and the world we make. Imbued with a dark sense of eros and humor, Honda’s work insinuates life and its reproduction.

frog is an in-depth look at Margaret Honda’s sculpture. With an introduction by Eric Crosby (Curator, Carnegie Museum of Art), texts by Leah Mirakhor and Tenzig Barshee, and conversation between curatorial assistant Hannah Turpin, Carnegie Museum of Natural History curator of herpetology Jennifer Sheridan, and Renaissance art historian Christopher Nygren, this book further contextualizes Honda’s work and practice.

7 1/2 inch × 10 inch plastic jacket containing two 7 1/2 inch × 10 inch softcover books
112 pages each
ISBN 978-1-941753-30-9
Co-published by Ballroom Marfa

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“I’m interested in the artists’ attempt to map their world, to order and make sense of it. This activity is not exclusive to artists; people do it constantly to find some relationships to abstractions, global events, invisible machinations of finance and those decisions that affect the future of the world.” —Mark Lombardi

Strange Attractor takes its name from the inherent order embedded in various forms of chaos. Expanding on ideas and connections forged in the 2017 Ballroom Marfa exhibition of the same name organized by Gryphon Rue, Strange Attractor explores the uncertainties and poetics of networks.

Rue, a experimental sound artist and curator, brings together artists and practitioners from a variety of fields to converse on the chaos, connections, and interpretations that narrate everyday experiences. The topic of sound pervades the book as a guide and narrator throughout a web of increasingly complex relationships between systems that reveal a backdrop of socio-political power, transmigration, and asylum.

Strange Attractor includes artworks from Lawrence Abu Hamdan, Thomas Ashcraft, Robert Buck, Alexander Calder, Beatrice Gibson, Phillipa Horan, Channa Horwitz, Lucky Dragons (Luke Fishbeck and Sara Rara), Mark Lombardi, Herbert Matter, Haroon Mirza, Elias Sime, and Douglas Ross, as well as conversations between tropical ecologist Merlin Sheldrake, novelist Chloe Aridjis, and economic sociologist, Juan Pablo Pardo-Guerra, as well as texts by media art historian, Douglas Kahn, and poet, Bernadette Mayer, among others.

10 1/4 × 10 1/4 inches, 252 pages,
softcover with jacket
ISBN 978-1-941753-16-3

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Co-published by RITE Editions

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Steven Leiber (1957–2012) was a pioneering art dealer, collector, and gallerist, focused on the dematerialized art practices of the 1960s and 1970s. As an expert in the then-nascent field of artist archives and ephemera, in 1987 he opened Steven Leiber Basement. He was an important resource for numerous scholars, curators, and other enthusiasts, with a focus on the integral role of ephemera and documentation within conceptual art and other avant-garde movements.

Across 252 pages, this book documents the full set of 52 dealer catalogs produced by Steven Leiber between 1992–2010. His reputation spread via these unique volumes that paid homage to historic publications and multiples, including Wallace Berman’s Semina journal and the exhibition catalog Documenta V (1972), and included works by John Baldessari, Lynda Benglis, Ray Johnson, Lucy Lippard, Allan Kaprow, Yayoi Kusama, Claes Oldenburg, Lawrence Weiner, and many more.

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 David Senior.

Additional contributors include Ann Butler, Christophe Cherix, Marc Fischer, Adam Michaels, Tom Patchett, David Platzker, Marcia Reed, Lawrence Rinder, and Robin Wright.

9 1/4 × 7 1/4 inches, 216 pages, softcover
ISBN 978-1-941753-16-3

Text by Raúl de Nieves, Cynthia Oliver, The Otolith Group, taisha paggett. Conversations with George Lewis, Jennie C. Jones, Charles Gaines, Fred Moten, Wadada Leo Smith

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Co-published by The Institute of Contemporary Art at the University of Pennsylvania

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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 encounters and unfolding 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 by drill teams at historically black colleges; and A Recital for Terry Atkins by composer George Lewis.

The book further contextualizes the events through an essay by curator Anthony Elms, conversations with George Lewis, Jennie C. Jones, and Wadada Leo Smith on themes of rhythm, rehearsal, and improvisation, plus new works and writing from Raúl de Nieves, Cynthia Oliver, The Otolith Group, and taisha paggett.

9 × 7 1/4 inches, 88 pages, softcover
ISBN 978-1-941753-23-1

Foreword by Luis A. Croquer. Text by John Gordon, Jennifer Wulffson Bedford, Jennie C. Jones

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Co-published by the Rose Art Museum

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In 1967, for her first museum retrospective, Louise Nevelson (1899—1988) was given carte blanche to transform the Rose Art Museum into an all-encompassing, 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 never before published exhibition layouts (annotated by Nevelson), installation photographs and texts that place this show in context of Nevelson’s career and the museum’s early history. This publication accompanies now out-of-print catalogue 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.

5 1/4 × 8 inches, 112 pages, softcover
ISBN 978-1-941753-01-9
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Emerging artist and theorist Micah Silver elaborates on the impact of audio on human behavior and social space. Silver’s research ranges from Meillassoux and a triangulation of audio’s trans-substance, to Yves Klein’s Air Architecture, through La Monte Young’s Dream House, and culminates in a discussion of historically significant audio systems and their importance as ephemeral 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 work has been produced by Mass MoCA, Issue Project Room, Palais de Tokyo, and OK Zentrum, among other venues internationally.

6 3/4 × 9 3/4 inches, 176 pages, hardcover
ISBN 978-1-941753029-3
Design by Mark Owens
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Anthony Pearson is the first comprehensive monograph dedicated to the multi-faceted work of this Los Angeles-based artist. Documenting almost 15 years of Pearson’s production—including photographs, sculptures, and entirely sui generis hybrid works that combine multiple modes—the book captures the indexical nature of a practice in which intuition and sensitivity to ambient conditions of light and shadow are organized according to rigorous formal principles.

An illuminating essay by curator Alex Klein traces the artist’s connections to a broad range of cultural influences, his long-standing interest in music, and the formative effect of a life spent in Southern California on all aspects of his practice. Also included alongside documentation of the artist’s studio and works are Pearson’s own reflections on each of his bodies of work and the processes that led to their creation, providing an intimate record of his development and thought.

Bag: 13.75 x 13 inches
Handle: 12 inches
100% heavyweight cotton canvas

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The Inventory Press Bag is a bag about formats—the smallest pocket fits a mass market paperback, the largest pocket is sized for LPs, and the two pockets in between each fit electronic reading devices. Designed in collaboration with Mary Ping of Slow and Steady Wins the Race, the new run of this limited edition tote bag features new colors combinations for 2019.

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Featured here: Natural/Black

8 1/2 × 11 1/4 inches, 464 pages, hardcover
ISBN 978-1-941753-22-4
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For his first solo show in 1997, artist Saul Fletcher mounted a now iconic self-portrait. Evenly diffused light covers the artist’s torso, yet a birdlike black mask obscures his face. The image precludes an expansive career of photographic works that are by turns reserved, crafty, and even spectral. Often presented at a small scale, Fletcher’s photographs do not readily offer details or context—delivering instead a poetic simplicity.

A self-taught photographer from the northeastern coast of England, Saul Fletcher has been creating works of stirring melancholia for over two decades. In this monograph over three hundred of his images are spaciously reproduced, honoring the life in each photograph. Fragmented bodies, found object assemblages, and the artist’s own studio wall are rendered like exalted snapshots—personal vignettes of a larger story. Also included in the book are essays by Ralph Rugoff and Kirsty Bell that touch on Fletcher’s haunting captured moments as well as the unexpected pause his images demand in a time of media saturation, impermanence, and the ephemeral.

4 1/4 × 7 inches, 256 pages, softcover
ISBN 978-1-941753-19-4
Edited by Nick Axel, Nikolaus Hirsch, Ann Lui, and Mimi Zeiger
Design by IN-FO.CO

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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 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 will provide 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). Additional essays—by Ingrid Burrington, Ana María León, and Nicholas de Monchaux, among others—will offer essential and enquiring responses to these themes.

From “social to speculative; technical to theoretical,” the participating teams lead intellectual and architectural practices that not only situate the US as a leading center of critical research at the heart of the debate on citizenship, social conscience, and a just society, but also as a place at the intersection of political action, public policy, and changing notions of nationality.

Participants in the US Pavilion at the 2018 Venice Architecture Biennale are: Amanda Williams & Andres L. Hernandez with Shani Crowe (Chicago, IL); Design Earth (Cambridge, MA); Diller Scofidio + Renfro, Laura Kurgan, Robert Gerard Pietrusko with Columbia Center for Spatial Research (New York, NY); Estudio Teddy Cruz + Fonna Forman (San Diego, CA); Keller Easterling (New Haven, CT); SCAPE (New York, NY); and Studio Gang (Chicago, IL). The exhibition is curated by Niall Atkinson, Ann Lui, and Mimi Zeiger; and commissioned by the School of the Art Institute Chicago and University of Chicago.

5 × 6 3/4 inches, 738 pages, softcover
ISBN 978-1-941753-20-0
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Maryam Monalisa Gharavi is an artist, poet, and theorist. Her work in film, video, performance, text, photography, drawing, and sound explores the interplay between aesthetic and political valences in the public domain. Bio is a hybrid work that reconfigures canceled text and the World Wide Web. It captures a span of 365 days during which the artist updated the 160-character “bio” section of her Twitter account each day. While tweets are regularly captured by corporate data storage centers this “bio” section remains the only untraceable and non-archived part of the software’s superstructure.

Bio, immersively created via a proprietary app, ultimately left no record of itself, complicating the normative binaries of online/offline and digital/print. An experiment in erasure, self-deletion, and visibility in the expanded sphere of the net, Bio anchors itself in the wider lineage of artists’ canceled texts, but in the age of new data as “soft” power.

Gharavi has exhibited or participated in residencies or projects at Townhouse Gallery, MFA Boston, Pacific Film Archive, Triple Canopy, Pioneer Works, Serpentine Cinema, New Museum, Delfina Foundation, Nottingham Contemporary, among others. Recent publications include a translation of Waly Salomão’s Algaravias: Echo Chamber (Ugly Duckling Presse), The Distancing Effect (BlazeVOX), and Apparent Horizon 2 (Bonington Gallery). She completed an M.F.A. at Milton Avery Graduate School of the Arts at Bard College and a Ph.D. at Harvard University.

9 3/4 × 12 1/4 inches, 132 pages, hardcover
ISBN 978-1-941753-13-2
Design by Project Projects
Co-published by Kayne Griffin Corcoran
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Mary Corse (b. 1945) earned acclaim in the 1960s for producing pieces ranging from shaped-canvas paintings to ingenious light works. Corse has dedicated the decades since to quietly yet steadily establishing a unique practice at the crossroads of Abstract Expressionism and American Minimalism.

Despite her now-frequent association with California’s Light and Space movement, Corse evolved independent of the region’s dominant personalities, philosophies, and scenes. As a result, her more than fifty-year career has been nearly as unheralded as it has been groundbreaking. Her practice began with her early studies of New York Abstract Expressionism and American Minimalism and developed into a highly refined vocabulary that merges traits normally thought to be irreconcilable: gestural brushstrokes reminiscent of early influences like Willem de Kooning; precise geometric compositions evoking Josef Albers; and a palette reduced through Donald Judd-like discipline. She has tirelessly explored innovative painting techniques and materials that create a dynamic interplay with the viewer and continuously alter one’s relationship to the work.

Produced in conjunction with her inaugural solo exhibition at Kayne Griffin Corcoran, Mary Corse is the first major catalogue on an artist whose visibility has unfairly lagged far behind her importance and influence. With an essay by Suzanne P. Hudson and an interview by Alex Bacon, Mary Corse initiates a critical reappraisal of an artist whose singular vision and pioneering contributions to the legacy of American abstraction have been hidden for much too long.

5 1/2 × 10 inches, 70 pages, softcover
ISBN 978-1-941753-17-0
Design by Project Projects
Co-published by Worcester Art Museum
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Reusable Universes serves as an instruction manual to the immersive and kinetic art of Shih Chieh Huang. In addition to drawings, photographs, and installation images from the exhibition Reusable Universes: Shih Chieh Huang at the Worcester Art Museum, the catalogue includes an essay by Vivian Li and interview with the artist by Aida Yuen Wong that expands on how nature, technology, and everyday materials inspire Huang's artistic practice.

This catalogue, the first monographic publication on the artist, is released on the occasion of Huang’s largest U.S. solo show to date.

7 3/4 × 10 1/2 inches, 160 pages, softcover
ISBN 978-1-941753-11-8
Design by Project Projects
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Pioneering conceptualist Jiro Takamatsu (1936–1998), a major influence on the artists of the Mono-ha movement, had a career that spanned forty-plus years, during which time his considerable influence as an artist, theorist, and teacher extended across the Japanese postwar cultural landscape.

Grounded in broad philosophical principles, Takamatsu sought to take art outside of the confines of conventional and institutional settings, collapsing the boundaries between art and life. His practice shifts across appearance and materials, from drawing and sculpture to photography.

Jiro Takamatsu catalogues recently exhibited works (at Kayne Griffin Corcoran, Los Angeles), including the seminal Rusty Ground, shown in North America for the first time in the winter of 2016. The book will also include archival photography of the artist’s studio, historical process images, and stills from a 1974 Japanese television documentary depicting Takamatsu at work.

Copiously illustrated, the book offers a timely re-evaluation of Takamatsu’s practice following a significant resurgence of appreciation for the Japanese avant-garde, and features essays by Hiroyuki Nakanishi, Curator of the National Museum of Art, Osaka, Jordan Carter, Curatorial Fellow for the Visual Arts, Walker Art Center, and the late Takamatsu.

6 × 9 inches, 296 pages, hardcover
ISBN 978-1-941753-149
Design by Project Projects
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“'What Was An Author?' Right from the opening words of these Tempest Essays, we see the great Molly Nesbit at work undoing and radically repositioning the time codes for the artist. She creates a living archive of critical debates, politics and philosophies. She paints a vivid picture of the many junctions between people, objects, quasi-objects and non-objects throughout the twentieth century and into the twenty-first. This is a true protest against forgetting as well as a toolbox for contemporary art criticism. Call it a guidebook to the labyrinth of reality.” —Hans Ulrich Obrist

Midnight: The Tempest Essays returns the question of pragmatism to the everyday critical practice of the art historian. 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, build to form new book-length lines of continuity and investigation.

Molly Nesbit is Professor in the Department of Art at Vassar College and a contributing editor of Artforum. This is the second book in her Pre-Occupations series, following The Pragmatism in the History of Art (2013). Her other books include Atget's Seven Albums (1992) and Their Common Sense (2000).

7 7/8 × 10 5/8 inch slipcase containing
two 7 5/8 × 10 1/8 inch softcover books
and three 45 × 37 1/4 inch posters
ISBN 978-1-941753-09-5
Design by Marshall Henrichs (original materials)
and Project Projects (new materials)
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"Perhaps one of the most extraordinary books ever issued by an American commercial publisher.” —Richard Kostelanetz

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 80-page book 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.

7 3/4 × 11 3/4 inches, 208 pages, hardcover
ISBN 978-1-941753-06-4
Design by Project Projects

Co-produced by Westfälischer Kunstverein, Münster; Chisenhale Gallery, London; Kunsthal Charlottenborg, Copenhagen; Bétonsalon–Centre d’art et de recherche, Paris
Co-published by Koenig Books
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Elephant Child is a natural extension of the artistic practice of New York-based French artist Camille Henrot. Originated during an Artist Research Fellowship at the Smithsonian Institution, which laid the groundwork for her 2013 video Grosse Fatigue and the subsequent installation The Pale Fox (2014–15), Elephant Child represents the culmination of a long-term inquiry into the human effort to make the universe comprehensible. The book contains an original text by Henrot written with Clara Meister and Michael Connor, documentation, sketches, and research materials. An interview between Henrot and social anthropologist Monique Jeudy-Ballini offers insight into Henrot’s characteristic approach of knowledge production and organization. Ultimately, the book is an object of high universalist ambition—devoid of authority, creating instead a vivid prismatic image of the realm of thought.

9 1/4 × 9 1/4 inches, 160 pages, hardcover
ISBN 978-1-941753-05-7
Design by Project Projects
Expanded third edition

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“49 Cities has been a point of reference for me... and it has had a significant impact on my thinking. It presents the city as a properly architectural problem.”—Stan Allen, architect

Throughout history architects and planners have dreamed of “better” and different cities—more controllable, more defensible, more efficient, more monumental, more organic, taller, denser, sparser or greener. With every plan, radical visions were proposed, ones that embodied not only the desires but also, and more often, the fears and anxieties of their time. Today, with the failure of the suburban experiment and the looming end-of-the world predictions—from global warming and waste to post-peak oil energy crises and uncontrolled world urbanization—architects and urbanists find themselves once more at a crossroad, fertile for visionary thinking. 

49 Cities is a call to re-engage cities as the site of radical thinking and experimentation, moving beyond “green building” toward an embrace of ideas, scale, vision and common sense combined with delirious imagination in the pursuit of empowering questioning and re-invention.

In addition to enhanced, high-quality reproductions and illustrations, this cloth-bound third edition includes an interview between Amale Andraos, Dan Wood, Joseph Grima, and Archigram’s Michael Webb, an essay on The Death and Life of Urban Planning by Sam Jacob (founder of FAT Architecture) and new interviews with culture-defining architects Chip Lord (Ant Farm) and Yona Friedman.

7 1/2 × 10 inches, 124 pages, hardcover
ISBN 978-1-941753-10-1
Design by Joseph Logan Design
Co-published by Rogaland Kunstsenter
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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.

6 × 9 1/4 inches, 216 pages, hardcover
ISBN 978-1-941753-07-1
Design by Project Projects
Co-published by Zachęta—National Gallery of Art
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Inspired and provoked by the title character in Werner Herzog’s film Fitzcarraldo, two artists and a curator decide to revisit his mad plan of bringing opera to the tropics. In an attempt to undercut Fitzcarraldo’s colonial romanticism, they decide to confront a set of particular historical and sociopolitical realities by staging Halka, considered to be Poland’s “national opera,” in the seemingly unlikely locale of Cazale, Haiti, a village inhabited by the descendants of Polish soldiers who fought for the Haitian Revolution in the early 1800s.

On February 7, 2015, a one-time-only performance of Halka was presented to a rapt local audience on a winding dirt road. A collaboration between Polish and Haitian performers, the event was filmed in one take to be presented later as a large-scale projected panorama in the Polish Pavilion at the Venice Biennale.

This volume provides both a multifaceted conceptual framework for the project and a detailed record of this remarkable endeavor. With an introduction by the project’s curator and an interview with the artists, the book also features three newly commissioned essays—from literary scholar Katarzyna Czeczot, diplomat Géri Benoît, and anthropologist Kacper Pobłocki—alongside Michel-Rolph Trouillot’s seminal reflection on the global silencing of the Haitian Revolution. Also included are questionnaires completed by the project’s Haitian and Polish participants, translated selections from the opera’s libretto, extensive photographic documentation of the rehearsals, and stills from the film itself.

8 1/2 × 10 inches, 272 pages, hardcover
ISBN 978-1-941753-04-0
Design by Project Projects
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Using painting, drawing, and abstraction as markers of a space outside verbal description, Jessica Dickinson examines the slow exchanges between perception, matter, and psychology that develop in peripheral spaces. Each of her works is developed slowly, meditatively, through procedures that work toward a compressed measure of time that echoes the shifts in what is seen, both inwardly and outwardly.

Under | Press. | With-This | Hold- | Of-Also | Of/How | Of-More | Of:Know presents eight paintings and their “remainders”—graphite rubbings made of the paintings. Every time the surface of the paintings changes significantly, a graphite impression is made to transcribe the surface. These works in turn map the transitive passages of the paintings, becoming their indexes, unfolding time in a sequence while asserting the materiality of the paintings.

Published in conjunction with an exhibition at James Fuentes Gallery, New York, the book's 46 color and 107 b&w reproductions are accompanied by an essay by curator Debra Singer and an interview with the artist by Patricia Treib.

8 1/4 × 5 1/2 inches, 50 pages, wirebound
ISBN 978-1-941753-08-8
Edition of 100 numbered copies

Way Station extends the January 2015 exhibition by Shannon Harvey, Adam Michaels, and Levi Murphy at Grice Bench, Los Angeles. At once static and dynamic, the book presents a journey through a series of landscapes, juxtaposed with a steadily spinning furniture form—that of the primary exhibition component, a set of colorful benches featuring ergonomics designed to heighten and transform physical and mental awareness. The book provides a particularly associative experience for a reader seated on a Way Station bench, while maintaining interest far beyond this setting.

Shannon Harvey is a designer and colorist. Adam Michaels is the cofounder of design studio Project Projects, and founder of Inventory Press. Levi Murphy is a designer and founder of Communal Objects.

8 5/8 × 11 1/2 inches, 128 pages, hardcover
ISBN 978-1-941753-00-2
Design by Project Projects
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The much-revered avant-garde guitarist John Fahey (1939–2001) incorporated influences ranging from folk, blues, and bluegrass to classical music, musique concrete, and noise in his primarily acoustic guitar-based compositions. Considered a legend by many, Fahey released upward of three dozen LPs in his lifetime.

Relatively late in life, Fahey extended his so-called American Primitive approach beyond music, and into the creation of a substantial body of paintings created in makeshift studios in and around Salem, Oregon. Painting on found poster board and discarded spiral notebook paper, working with tempera, acrylic, spray paint, and magic marker, Fahey’s intuitive approach echoes the action painters and abstract expressionists. The same alluring and tranquilizing aesthetics that defines much of Fahey’s musical output are equally present in his paintings.

The first publication focusing on his visual output, John Fahey: Paintings, edited in collaboration with Audio Visual Arts (AVA), is illustrated with 92 plates and is accompanied by essays from Keith Connolly, founding member of No-Neck Blues Band, and the critic Bob Nickas.

6 3/4 × 9 inches, 208 pages, softcover
ISBN 978-1-941753-02-6
Edited by Elizabeth Thomas
Design by Project Projects
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Established in 2007 by Marc Fischer, and featured in the 2014 Whitney Biennial, Public Collectors encourages collectors of material culture—the kind that most museums won’t exhibit—to ‘open’ their collections to the public. Extending the popular website of the same name, this book presents a wide array of collections—some featured on the website, most newly assembled for publication—interspersed with commentary and essays exploring the problems and politics of collecting materials that may lack conventional monetary or cultural value.

Marc Fischer is a Chicago-based artist and a member of Temporary Services, a group that has produced over 100 publications and organized and participated in dozens of exhibitions, projects, and events. Fischer and Brett Bloom of Temporary Services also run the publishing imprint Half Letter Press.

10 × 13 inches, 320 pages, softcover
ISBN 978-1-941753-03-3
Design by Project Projects

Very limited stock available!

Catalogue suggests an artist’s exhibition catalogue, but is rather a chronological compilation of auction catalogues presenting the sales of the mid-century furniture designed by Le Corbusier and Pierre Jeanneret for Chandigarh, India, featured in Amie Siegel’s multi-element film installation Provenance (2013). An aside, an addendum, an index, the publication ends with the Christie's London catalogue page from the 2013 auction of Provenance itself in the Post-War and Contemporary Art Sale, which completes the economic circuit of the project.

American artist Amie Siegel’s work has been exhibited in solo and group exhibitions at the Metropolitan Museum of Art, New York MoMA/PS1, NY; Hayward Gallery, London; Whitney Museum of American Art, NY; Walker Art Center, MN; CCA Wattis, San Francisco; Kunstmuseum Stuttgart; Kunst-Werke, Berlin, Cannes Film Festival and Berlin Film festival among many others. She has been a fellow of the DAAD Berliner-Künstlerprogramm, Guggenheim Foundation, and the recipient of a Sundance Institute Film Fund award.

Introduction by Steven Heller
Afterword by Andrew Blauvelt

4 1/4 x 7 inches, 240 pages, softcover
ISBN 978-1-61689-034-6
Design by Project Projects

Inventory Books paperback series IB03, copublished by Princeton Architectural Press

Free poster included

The Electric Information Age Book explores a time span in mass-market publishing in the sixties and seventies when former backstage players—designers, graphic artists, editors, "coordinators," and "producers"—stepped into the spotlight to create a set of exceptional paperback books.

The period begins in 1966 when Jerome Agel and Quentin Fiore, in collaboration with Marshall McLuhan, first developed The Medium Is the Massage into “an inventory of effects,” and continues to 1975, the publication year of Other Worlds, Agel’s collaboration with the exobiologist Carl Sagan. Graphic designers such as Fiore employed a variety of radical techniques—verbal visual collages and other typographic pyrotechnics—that were as important to the content as the text.

Aimed squarely at the young media-savvy consumers of the “Electric Information Age,” these small, inexpensive paperbacks brought the ideas of contemporary thinkers to the masses and established a distinctive new graphics-rich, montage-based genre of bookmaking that still resonates loudly today.

12 1/4 × 12 1/4 inches
Limited edition vinyl LP
Design by Project Projects

Created as an audio extension to The Electric Information Age Book by Jeffrey T. Schnapp and Adam Michaels, the LP was made in the spirit of the experimental 1967 The Medium is the Massage LP, the “first spoken arts record you can dance to” based on media theorist Marshall McLuhan’s groundbreaking book of the same name.

Produced by Schnapp, Michaels, and Daniel Perlin in a process paralleling the book's production, the album incorporates new music drawing upon a wide range of genres (such as Post-Punk, Mutant Disco, Baile Funk, and Chicago Juke) with samples, quotations, and text from The Electric Information Age Book.

5 1/2 × 8 1/2 inches, 48 pages, softcover
Design by Project Projects
Edition of 100 copies (sold out)
Free PDF download link below!

This supplement to The Electric Information Age Book reproduces two rare interviews conducted by Steven Heller and Abbott Miller with graphic designer Quentin Fiore, the designer/co-author of The Medium is the Massage and War and Peace in the Global Village, in addition to a reprint of Fiore's 1969 collage essay “The Future of the Book.”

Download full PDF here