8.5 × 11 inches, 160 pages, softcover
ISBN 978-1-941753-66-8

Design by Ian Babineau, Walker Art Center Design Studio
Co-published by Inventory Press & Walker Art Center

This catalogue accompanies the Walker Art Museum exhibition of recent and new work by Twin Cities–based artist Tetsuya Yamada (Japan, b. 1968), whose interdisciplinary practice blurs the lines between art, design, and craft. From ceramic objects that reflect an extraordinary level of technical and aesthetic sophistication to dynamic sculptures and to video installations, the featured works highlight Yamada’s engagement with the connections between life and art.

Yamada’s influences include the ancient Japanese forms of Noh theater and the traditional tea ceremony, the modernism of Brancusi and Isamu Noguchi, and the democracy of the found object espoused by Marcel Duchamp. The design of the catalogue holds these influences not as tensions, but as complementary facets of a grounded practice. The exhibition, the first US museum presentation of Yamada’s work, features more than 60 works from 2005 to the present, including sculptures in ceramic, wood, and metal; paintings; drawings; photographs; video; and an environmental installation. This publication features many of the works, and includes an interview with the artist and in depth essay by exhibition curator Siri Engberg.

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

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.

Made in LA

Featured here: Natural/Black. Please note the first color listed in dropdown above corresponds to the base color of the bag. The second color listed corresponds to the handle color of the bag.

8.25 x 10 inches, 336 pages, hardcover
ISBN 978-1-941753-63-7

Design by Sofia Broid

The first monograph dedicated to the practice of Mexican artist Pia Camil, Friendly Fires combines exhibition documentation with material from the artist’s personal archive to explore thirty-two projects from 2006 to now.

As the title suggests, Camil’s work is often done in a climate where kinship and the affective are proposed as a radical way of working in contrast to the highly individualized world. The three illustrated essays delve into this and the artist's oeuvre. Justine Ludwig explores the capitalist critique in the artists’ overall practice; Karen Cordero looks through cloth as a surrogate body to press on the material significance of Camil’s pieces; Cecilia Fajardo-Hill considers the work from a feminist and Latin American perspective, and Elise Lammer and Camil discuss the importance of participatory and collective practices in a multispecies world.  

The book was designed in collaboration between the artist and Mexican designer Sofia Broid and includes an addendum presented as a poetic visual essay by Gabriela Jauregui. With English and Spanish texts, this book makes Camil’s important contribution to feminist and Latin American practices in the context of late capitalism accessible to a wider audience.

12.5 x 8.75 inches, 96 pages, hardcover
ISBN 978-1-941753-64-4

Design by IN-FO.CO
Co-published by Inventory Press and Galerie Max Hetzler

Entanglements: Louise Bonnet and Adam Silverman at Hollyhock House weaves together documentation of new works by Louise Bonnet and Adam Silverman with conversations by artists, architects, chefs, and friends whose work and lives are entangled in Los Angeles. Made in response to and installed at Frank Lloyd Wright’s Hollyhock House, Bonnet’s paintings and drawing and Silverman’s ceramics engage the house’s hundred-year history as a platform for artists and experimentation. The centerpiece of an arts park, Hollyhock House was only partially realized by Wright and completed by others, and has served as a home, an arts center, a social club, and a house museum. The exhibition foregrounds the many entanglements of place, broadening perspectives on this California house and its layered history. By placing conversations and reflections in dialogue with photo documentation by Joshua White, the book is a meditation on being intertwined.

Photographs by Joshua White and essay by Abbey Chamberlain Brach. With contributions by Isabelle Albuquerque & Jon Ray; Vinny Dotolo & Jon Shook; Shannon Harvey & Adam Michaels; Michael Maltzan & Amy Murphy; Hardy Ophuls & Sarah Watson; Rob Reynolds & Mary Wigmore; Joe Sola & Erin Wright; and Ricky Swallow & Lesley Vance.

7.75 × 11.25 inches, 128 pages
ISBN 978-1-941753-47-7

Design by Apogee Graphics
Co-published by Inventory Press and Visual Arts Center at the University of Texas at Austin

Lisa Lapinski: Miss Swiss is artist Lisa Lapinski’s most comprehensive monograph to date. Lisa Lapinski is an artist living and working in Houston, Texas. She received her BA from University of California, San Diego, an MFA from Art Center College of Design and is currently an Associate Professor of Art at Rice University. She was the recipient of a Guggenheim Fellowship in 2004.

Published on the occasion of Drunk Hawking, her 2020 mid-career survey at Visual Arts Center (VAC) at the University of Texas at Austin, the book will include never before published images of Lapinski’s exhibitions and artworks from 2000 to the present. Miss Swiss 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. Designed by artists Laura Owens and Asha Schechter of Apogee Graphics, the book is an inventive collaboration between Owens, Schechter, and Lapinski, providing new insights into Lapinski’s influential and idiosyncratic practice.

100% Cotton

The Cyberfeminism Index hat features a symbol on the front and the question “What is Cyberfeminism?” on the back.

The male-male-female-female symbol appeared on the 1997 webpage “darKcoRe” by the artist GashGirl (Francesca da Rimini). The symbol originally appeared as two gold female symbols and two silver male symbols, the stems of each float and interlock into the circle of the next, creating an entangled loop of gender markers and fluid relational possibilities

Black and White hats sold separately or bundled with a copy of Cyberfeminism Index.

6.5 × 9 inches, 144 pages
ISBN 978-1-941753-57-6

Design by IN-FO.CO
Co-Published by Inventory Press and Vera List Center for Art and Politics at The New School

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 centers on Indigenous place-based artistic modes of making and practice to open spaces for reciprocity and multiplicity.

Introduction by Maria Hupfield with contributions by Jackson 2bears, Pelenakeke Brown, Katherine Carl, Re’al Christian, Christen Clifford, TJ Cuthand, Raven Davis, Vanessa Dion Fletcher, Gabrielle L’Hirondelle Hill, Candice Hopkins, Akiko Ichikawa, Ursula Johnson, Kite, Charles Koroneho, Carin Kuoni, Tanya Lukin Linklater, Cathy Mattes, Peter Morin, Meagan Musseau, Wanda Nanibush, Archer Pechawis, Rosanna Raymond, Skeena Reece, Georgiana Uhlyarik, and Charlene Vickers, and reflections on Rebecca Belmore, Lori Blondeau, Dennis RedMoon Darkheem, Natalie Diaz, the Dime Collective, Cheryl L’Hirondelle, Jane Schoolcraft, and Laakkuluk Williamson Bathory.

6 × 9 inches, 128 pages, softcover with jacket
ISBN 978-1-941753-56-9

Design by IN-FO.CO

A celebration of multicultural collaboration through contemporary ceramics and exquisite, experimental 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 radical diversity and 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.

With contributions by Ravi GuneWardena, Aya Muto, Akane Teshigahara, and Tony Marsh.

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

Design by IN-FO.CO
Co-published by Inventory Press
and Carnegie Museum of Art

"Honda's lone, human-size frog, lying supine and pitifully exposed on a bed of luxurious rugs, is easily one of the most unnerving sculptures I've seen." —Henriette Huldisch, Artforum

For the 82nd installment of Carnegie Museum of Art’s Forum series, Los Angeles-based artist Margaret Honda created a singular, enigmatic sculpture—a frog rendered in lifelike detail 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. Honda's sculpture extends beyond surface representation to include the skeleton and internal organs, none of which are visible. At once material and philosophical, her work prompts us to ponder our relationship to art and the world we make.

frog is an in-depth look at Margaret Honda’s sculpture. With an introduction by Eric Crosby (Director, Carnegie Museum of Art), texts by Leah Mirakhor and Tenzing 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.

9 x 12 inches, 120 pages, hardcover
ISBN 978-1-941753-58-3

Design by IN-FO.CO
Co-published by Inventory Press
and Canada

Denzil Hurley is a long-underrecognized Barbadian-American artist, whose artistic and intellectual underpinnings have been influential in the art world throughout his life. Published in tandem with an exhibition of his work at Canada, this book is the first major publication on Hurley.

Born in Barbados in 1949, Hurley was an impactful educator, spending most of his teaching career at the University of Washington. With essays by Gervais Marsh, Robert Storr, and Wallace Whitney that consider the breadth of the artist’s achievement, the catalogue focuses on Hurley’s final paintings, a mixture of reductive post-conceptual painting and provisional construction methods of the African diaspora. In his “stick” and “glyphs” series, Hurley's paintings create a sense of improvisation and structural integrity as well as act as stand-ins for human relationships. Always, Hurley’s paintings are alive with color, bringing light to the artist’s musings on the limits of language.

7.625 × 10.5 inches, 256 pages, softcover
978-1-941753-37-8

Design by IN-FO.CO
Co-Published by Inventory Press
and Ars Nova Workshop

LOW STOCK / Exempt from promotions

Milford Graves (1941–2021) was a revelatory force in music beginning in the mid-1960s, liberating the drummer from the role of time-keeper to instrumental improviser. A pivotal figure in the free jazz movement, he created groundbreaking work with Albert Ayler, the New York Art Quartet, Min Tanaka, and John Zorn, and led the way in artistic self-production. But his kaleidoscopic genius was not bound by music, and it led him to develop an oeuvre unprecedented in its breadth—from healing arts to botany, cardiac research to martial arts.

This fully illustrated catalogue includes documentation from the exhibition A Mind-Body Deal, including hand-painted album covers and posters, idiosyncratic drum sets, recording ephemera, multimedia sculptures, photographs, costumes, and artifacts from his scientific studies. This first-ever overview of Graves as a creative polymath attempts to unlock his unique habitat by gathering his intricate, multifaceted work and exploring the practices and predilections of this extraordinary jazz mind.

7.75 × 9.5 inches, 200 pages, hardcover
ISBN 978-1-941753-55-2

Edited by Lauren Schell Dickens
Design by IN-FO.CO
Co-published by Inventory Press and San José Museum of Art
LOW STOCK / Exempt from promotions

As the first in-depth monograph on the artist, Kelly Akashi: Formations accompanies the major survey exhibition organized by the San José Museum of Art and traveling nationally. Much like the artist’s own work, the catalogue cultivates relationships between objects and materials to investigate how they can actively convey their histories and potential for change. Spanning nearly ten years of her practice, the publication follows the artist from graduate school to more recent research into the inherited impact of Japanese Americans’ incarceration during World War II.

Akashi’s works in glass, cast bronze, multipart installations, and photographic contact prints are given further context through scholarly essays by San José Museum of Art’s senior curator Lauren Schell Dickens, curator Ruba Katrib, and art historian Dr. Jenni Sorkin, as well as a conversation between Akashi and painter Julien Nguyen. Dickens provides an overview of some of the themes in Akashi’s work as they spiral through each other: studies of weeds, fossils, and rocks expand to consider time, ancestry and inheritance, botanical and geologic memory, and kinship between beings. Sorkin examines Akashi’s practice within a larger context of skilled craft, what she terms “geoaesthetics,” and vernacular culture in California. Katrib looks at the centrality of the artist’s hands and body in her practice. Along with extensive plates and installation photography, the book features a new photography project by Akashi, a record of her scavenging for history in the site of her family’s imprisonment in a WWII Japanese American incarceration camp.

9 × 8 inches, 216 pages, softcover
ISBN 978-1-941753-52-1

Design by IN-FO.CO
Co-published by Inventory Press and
CCA Wattis Institute for Contemporary Arts

Accompanying the 2022 exhibition at CCA Wattis Institute for Contemporary Arts in San Francisco, Drum Listens to Heart reflects on the many ways that percussion reaches far beyond the drum. It relates to music and rhythm, but it also speaks to a wide range of aesthetic, expressive, and political forms more broadly. The exhibition weaves different forms of percussion together—physical and socio-political, literal and metaphorical. It juxtaposes instances of impact and vibration with forms of control, emancipation, spirituality, and community-building. It offers a framework and a vocabulary that binds art and politics to each other in percussive ways.

Alongside documentation of works in the exhibition are essays by Wattis Institute Director Anthony Huberman and Diego Villalobos as well as a unique glossary of terms associated with percussion, with contributions by Hannah Black, Geeta Dayal, JJJJJerome Ellis, Anthony Elms and Hamza Walker, Natasha Ginwala, Will Holder, Lê Quan Ninh, and Hypatia Vourloumis.

Artists in the exhibition include Francis Alÿs, Luke Anguhadluq, Marcos Ávila Forero, Raven Chacon, Trisha Donnelly, Em’kal Eyongakpa, Theaster Gates, Milford Graves, David Hammons, 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, Consuelo Tupper Hernández, Haegue Yang, and David Zink Yi.

7.5 × 10 inches, 120 pages, softcover
ISBN 978-1-941753-50-7

Design by IN-FO.CO
Co-published by Inventory Press and Ballroom Marfa

ESPEJO QUEMADA engages with the landscape of Far West Texas, while simultaneously drawing on visual, cultural, and mythological cues informed by feminism, decolonialism, and the artist’s personal and familial histories. Documenting the exhibition of the same name at Ballroom Marfa (the title of which translates to “burnt mirror” in English), this English and Spanish bilingual catalogue is an exploration of artist Donna 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 repeated 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 invites readers to inhabit Huanca’s work, reminding us that the sentient body is a potent source and repository of memory, intuitive knowledge, imagination, emotion, and desire.

6.75 × 9 inches, 96 pages, softcover
ISBN 978-1-941753-54-5

Edited and Designed by Martin Beck

Rare / Last Available Copies

American artists James Benning (b. 1942) and Sharon Lockhart (b. 1964) often cite each other’s films as an influence on their own work. Benning and Lockhart have each made careers of investigating the structure of film itself and rethinking the use of duration and sound. Both artists’ work illustrates the importance of close observation and the evolving urban landscape.

Over Time pairs works from both Benning and Lockhart with a collaborative, almost stream-of-consciousness text. The result is a profound conversation between two accomplished artists that highlights how slow, studied examination and reflection can deepen and enrich often overlooked, everyday experience.

8 × 10 inches, 240 pages, softcover
ISBN 978-1-941753-46-0

Design by IN-FO.CO

Studio Visit collects two decades of work by Brooklyn-based artist Sara Greenberger Rafferty (born 1978), known for her material transformation of photographs and her use of comedy as an artistic strategy. Organized by material sensibilities around paper, plastic, glass, metal, fabric scraps, and "garbage," Studio Visit rethinks the monograph format, revealing Sara Greenberger Rafferty’s practice through intimate studio documentation, sketches, notes, and other ephemera, punctuated by full-color case studies of major works.

With image descriptions by art historian Kate Nesin and new writing by Kristan Kennedy and Oscar Bedford, as well as reprinted texts by poet Lisa Robertson and media scholar Shannon Mattern, among others, Studio Visit surveys Sara Greenberger Rafferty's cultural commentary through dynamic and conceptually rigorous art.

Envelope containing three
saddle-stitched books
Domestic: 6 × 9 inches, 64 pages
Civic: 12 × 9 inches, 32 pages
Territorial: 12 × 18 inches, 16 pages

Design by IN-FO.CO
Co-published by Inventory Press
and Carnegie Museum of Art

The Fabricated Landscape (June 26, 2021–January 17, 2022, Heinz Architectural Center, Carnegie Museum of Art) presents projects from ten contemporary international architectural practices that are exceptionally responsive to the communities, localities, and cultures in which they are situated.

This exhibition catalogue, organized by scale, and presented in three parts, features extensive documentation of projects by Anna Heringer, Anne Holtrop, Assemble, Frida Escobedo, Go Hasegawa, LCLA office, MAIO, OFFICE Kersten Geers David Van Severen, SO-IL, and UMWELT alongside texts from curator Raymund Ryan, Emilio Ambasz, Emanuele Coccia, Jing Liu, and more.

Based on a continuous grid system, the publication’s three volumes are packaged in a 6 × 9 inch folder, but fold out to dramatically varied page sizes: 6 × 9 inches, 12 × 9 inches, and 12 × 18 inches.

9 × 11 ¾ inches, 144 pages
ISBN 978-1-941753-43-9

Design by David Hartt & IN-FO.CO
Edited by Cole Akers

Through lush, immersive imagery, this clothbound monograph reveals the fault lines of race, colonialism, and empire that haunt the present.

Borrowing its title from Herodotus’ foundational work, this publication documents a cycle of three works collectively titled The Histories by artist David Hartt. Focusing on the Americas and the Caribbean during the 19th century, Hartt explores real and imagined landscapes informed by Martin Johnson Heade, Robert S. Duncanson, Michel-Jean Cazabon, and Frederic Church. His contemporary interpretations use video, tapestries and sculpture alongside musical collaborations with Stefan Betke (Pole), Van Dyke Parks, and Girma Yifrashewa. The first work, Le Mancenillier, commissioned by and 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.

With an extended photo essay, documentation of the installations, and essays by Solveig Nelson, Michael Veal, and Mabel O. Wilson, The Histories reveals the complex entanglement of peoples and cultures as place is explored.

8 × 10.5 inches, 192 pages, hardcover
ISBN 978-1-941753-49-1

Design by IN-FO.CO
Co-published by Inventory Press, Kayne Griffin, and Bortolami Gallery

A historical overview of New York-based painter Mary Obering’s works from 1972 to 2012, this volume explores the artist’s geometric abstraction with Renaissance techniques. Born in Shreveport, Louisiana in 1937, she 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 generation-defining 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.

8.5 × 10 inches, 328 pages, softcover
ISBN 978-1-941753-39-2

Design by IN-FO.CO
Co-published by Inventory Press and Tufts University Art Galleries

Art for the Future: Artists Call and Central American Solidarities illuminates the formative 1980s activ­ist campaign, Artists Call Against U.S. Intervention in Central America. Published on the occasion of a pathbreaking exhibition of the same name at the Tufts University Art Galleries, this bilingual English-Spanish catalogue surveys Artists Call’s mobilization of writers, artists, activists, and artist organizations and looks at the group’s legacy today.

Art for the Future features critical essays that reflect on the campaign’s influence and place its art and activism within a wider visual, historical, and socio-political context. Contributors include exhibition curators Erina Duganne and Abigail Satinsky as well as Kency Cornejo, Lucy Lippard, Yansi Pérez, and Josh Rios. The catalogue highlights interviews with Artists Call participants, including Doug Ashford, Fatima Bercht, Josely Carvalho, Daniel Flores y Ascencio, Kimiko Hahn, Jerry Kearns, Sabra Moore, and Juan Sánchez.

The catalogue also includes contributions by a dynamic selection of artists and activists—Antena Aire and Tierra Narrative, Jerri Allyn, Maria Thereza Alves, and Hans Haacke as well as newly commissioned work by Beatriz Cortez, Muriel Hasbun, Josh MacPhee, Naeem Mohaiemen, and Antonio Serna. Art for the Future is at once an archive, historical document, and critical text that fills a gap in the examination of political and aesthetic actions across the Americas, both then and now.

Support for this publication was provided by the Institute for Studies on Latin American Art (ISLAA).

8.25 × 10.5 inches, 136 pages, hardcover
ISBN 978-1-941753-44-6

Design by IN-FO.CO
Co-published by Inventory Press and Blaffer Art Museum

As the first full-length monograph of Houston-based visual artist Jamal Cyrus, The End of My Beginning 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 catalogue includes materially diverse and conceptually charged textile-based pieces, assemblages, performances, installations, 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 re-activation of socio-political struggles in African American history—forging a revised chronicle of histories, hybridity, and redemption.

9 × 11 inches, 188 pages, hardcover
ISBN 978-1-941753-48-4

Design by ELLA
Co-published by Inventory Press
and Kayne Griffin

Mika Tajima is a comprehensive catalogue of artist Mika Tajima’s work spanning from 2003–2021.

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, underlining the dynamics of control and agency. Her practice materializes techniques developed to shape the physicality, productivity, and desires of the human subject.

This hardcover catalogue 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, and Borusan Contemporary, Istanbul, among other international venues. Mika Tajima also includes an introduction by independent curator Mika Yoshitake, an interview with the artist, and a critical text written by Professor T’ai Smith analyzing the conceptual underpinnings of Tajima’s work.

Edited by Nick Axel, Nikolaus Hirsch, Ann Lui, and Mimi Zeiger

4 1/4 × 7 inches, 256 pages, softcover
ISBN 978-1-941753-19-4

Design by IN-FO.CO

Seven unique covers available!

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.

7.5 × 10 inches, 220 pages, hardcover
ISBN 978-1-941753-45-3

Design by Mark Owens
Co-published by Inventory Press and Blaffer Art Museum

RARE / Only 2 copies available

Comic Relief is the first museum monograph of the work of artist Molly Zuckerman-Hartung, reviewing over twenty years of her art and life. Created as a catalogue for a major survey of Zuckerman-Hartung's practice at the Blaffer Art Museum in Houston, the book acts as both a record of the exhibition and the artist’s wide-ranging body of work—from her involvement in the underground punk Riot Grrrl scene to her work as a painter and creator of layered, multimedia objects.

Playfully engaging the aesthetic details of Riot Grrrl zines and vintage feminist theory texts, the book serves as the first in-depth exploration and celebration of the artist’s work. Taken as a whole, Comic Relief presents the art historical intersections within Zuckerman-Hartung’s practice, the enduring cultural and aesthetic implications of Riot Grrrl’s radical feminism, as well as broader questions about the current landscape of contemporary art, queer aesthetics, and abstract painting.

In addition to dozens of images, many of which are in print for the first time, the book features a foreword by Blaffer Art Museum director Steven Matijcio and writing from Kate Nesin, a leading postwar art historian; Lisa Darms, Riot Grrrl archivist and writer; Annie Bielski, artist and former student of Zuckerman-Hartung; and Tyler Blackwell, Cynthia Woods Mitchell Associate Curator at the Blaffer.

5.25 × 8 inches, 272 pages, softcover
ISBN 978-1-941753-38-5

Design by IN-FO.CO
Co-published by Inventory Press and neugerriemschneider

Conversations brings together a broad range of dialogues between author Jan Tumlir and artist Jorge Pardo, which span a period of 20 years, beginning in 1999. They encompass contemporary art, design, publishing, and music, and connect the varied contexts of Los Angeles and Mérida, Mexico, where they took place. The result is a story of a unique intellectual friendship that has defined both of their thinking and practice.

Describing his work as “shaping space” Jorge Pardo has made work that moves freely across the notional disciplines of art, architecture, and design throughout his over thirty-year career. His constructions range from a single light sculpture, to paintings, rooms or an assembly of buildings that combine all the individual elements of his artistic creation in the mode of the Gesamtkunstwerk or “total work of art.” His work contends with distinctions of private and public space, while calling to mind references as diverse as the Light and Space movement, Land art, modernist design and the color, flora and fauna of his home in Mérida, Mexico.

Jan Tumlir is an art writer and teacher, who lives and works in Los Angeles. He is a contributing editor for the art journal X-TRA, and his writing has appeared in Artforum, Aperture, Flash Art, Art Review, and Frieze. Tumlir is a member of the humanities and sciences faculty at Art Center College of Design.

9 x 12 inches, 128 pages, softcover
ISBN 978-1-941753-35-4

Introduction by Chip Lord
Design by IN-FO.CO
Co-published by Inventory Press
and RITE Editions

Ant Farm, the conceptual architectural practice turned art collaborative, is known for such distinctive works as House of the Century (1971–73), Cadillac Ranch (1974), and The Eternal Frame (1975).

Of equal notoriety is Media Burn, Ant Farm’s legendary 1975 performance, in which a radically customized Cadillac was driven through a wall of burning television sets. Media Burn: Ant Farm and the Making of an Image is a vibrant assessment of the complex set of cultural references and art-making strategies informing this collision of twentieth-century icons.

Author Steve Seid (Berkeley Art Museum and Pacific Film Archive) probes the little-known critical backstory of this bold performance (and resulting video work) and its irreverent effort to mount a subversive critique of media hegemony while reimagining the core meaning of performance itself.

Media Burn: Ant Farm and the Making of an Image examines car culture, image proliferation, and radical architectural practice, and offers a close read of Media Burn’s numerous texts, speeches, ephemera, and artifacts.

9 x 12 inches, 128 pages, softcover book
100% Ring Spun Cotton Garment Dyed Short Sleeve
Yellow with Black print
** PLUS we'll include a limited edition ANT FARM DVD!!**

In collaboration with Inventory Press, Boot Boyz Biz launched a limited edition Ant Farm t-shirt last week, inspired by our recent title Media Burn: Ant Farm and the Making of an Image, by Steve Seid. After the shirt sold out nearly instantaneously, we’re excited to announce that we have a very limited number of shirts here at IP, available as a combo package with the book.

In their own words, Boot Boyz Biz is: "a project based research practice. Promoting access to ideas and activating ecologies of knowledge is essential to our projects. We see t-shirts as means for a public sphere – tools for generating marginal forms of discourse with a broad social scope. We aim to assemble an expanding archive of citations, linking a wide range of ~material we live by~. We utilize intertextual strategies and disinterment to produce synthesized works that strive to open unique pathways. 👢-ing is a model for connecting with histories and ideas, allowing us attempts to capture essence and organize a collective memory that guides our future."

7 ¾ × 10 inches, 176 pages
ISBN 978-1-941753-40-8

Design by Joel Evey and David Wise
Co-published by Inventory Press & Ulises

Publishing as Practice: Hardworking Goodlooking, Martine Syms/Dominica, Bidoun centers on the work of three contemporary artists/book publishers who have developed fresh ways of broaching the political in publishing.

This book documents a residency program at Ulises—a curatorial platform based in Philadelphia—that explores publishing as an incubator for new forms of editorial, curatorial and artistic practice. Over the course of two years, three participants (Hardworking Goodlooking, Martine Syms/Dominica, and Bidoun) activated Ulises as an exhibition space and public programming hub, engaging the public through workshops, discussions, and projects.

Hardworking Goodlooking is a design and publishing imprint working primarily out of the Philippines. Dominica is an imprint run by artist Martine Syms dedicated to exploring Blackness as a topic, reference, marker, and audience in visual culture. Bidoun, a non-profit organization and magazine, focuses on art and culture from the Middle East and its diasporas. Each organization approached their residency at Ulises in a unique way, bringing a new understanding of what it means to practice publishing.

Edited by Kayla Romberger, Gee Wesley, Nerissa Cooney, Lauren Downing, and Ricky Yanas, Publishing as Practice features a preface by David Senior, Head of Library and Archives at the San Francisco Museum of Modern Art, and Ulises Carrión’s 1975 publishing manifesto “The New Art of Making Books.” Publishing as Practice also includes writing from Clara Balaguer, Hardworking Goodlooking, Martine Syms/Dominica, Bidoun, Lauren Downing, Kayla Romberger, and Gee Wesley alongside interviews, excerpts, and documentation from each residency.

8.5 x 10.25 inches, 404 pages, softcover
ISBN 978-1-941753-34-7

Design by Mungo Thomson and Brody Albert

For Mail, artist Mungo Thomson (b. 1969, Davis, CA) asked The Hammer Museum in Los Angeles to redirect all their incoming mail to the galleries, where it would accumulate unopened during the run of the 2018 exhibition, Stories for Almost Everyone. Over the course of the 4-month show, a massive pile of correspondence and packages grew. Part sculpture, part institutional critique, and part timepiece, Thomson’s Mail produced a temporary archive of institutional correspondence. At the conclusion of the show, Thomson documented this archive by photographing every item in the pile. These photographs are collected in this new book.

The design of the book loosely mimics a common shipping product catalog, over 30 of which were in the mail pile. 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, artist contribution and piece of junk mail is represented in the book. Further, collections of like things have been arranged and photographed on a seamless backdrop in the style of product photography for a vendor catalog

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.

8 x 10½ inches, 264 pages, softcover
ISBN 978-1-941753-36-1

Design by Brian Hochberger
Co-published by Inventory Press
and New York Consolidated

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.

For this volume 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.

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.

With texts by Alissa Bennett & Mel Ottenberg, Michael Bullock, Dale Corvino, Thomas Eggerer, Svetlana Kitto, Patrick McGraw, Dave McKenzie, Chris Morten, José Muñoz, Debbie Nathan, Yigal Nizri, Nicole Otero & Martine Syms, Mychal Denzel Smith, Natasha Stagg, Lincoln Tobier, Jordan Teicher, and Interviews with Becca Albee, Malik Gaines & Alex Segade, Chitra Ganesh, Pearl Hsiung, Jennifer Moon, Seth Price, Elisabeth Subrin.

The Pragmatism in the History of Art
6 x 9 inches, 128 pages, hardcover
ISBN 978-1-941753-27-9

Midnight—The Tempest Essays
6 × 9 inches, 296 pages, hardcover
ISBN 978-1-941753-149

Design by IN-FO.CO

A limited edition two-volume set, including both current books in Molly Nesbit's Pre—Occupations series. This set includes the 2020 reprint of The Pragmatism in the History of Art and Midnight: the Tempest Essays, published in 2017.

Molly Nesbit is Professor in the Department of Art at Vassar College and a contributing editor of Artforum.

More information on each title here:
The Pragmatism in the History of Art
Midnight—The Tempest Essays

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

Design by IN-FO.CO

"Art history without a philosophy of history—'there is no script,' as Nesbit says—is also art history without a tragic dimension. With the pragmatists and, for that matter, with Deleuze, she shares a fundamental optimism and a forward- looking gaze. But like Focillon and Schapiro, Nesbit also has high aspirations for her discipline. She throws art history a lifeline." —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 films of Chris Marker and Jean-Luc Godard show distinctly pragmatic effects; 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.

8.5 x 13.5 inches, 112 pages, softcover
ISBN 978-1-941753-32-3

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

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.

6 1/2 × 9 1/2, 240 pages, softcover
ISBN 978-1-941753-25-5

Design by Danielle Aubert

"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

Design by IN-FO.CO

Free USA Shipping

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.

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

Design by IN-FO.CO

“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 978-1-941753-24-8

Design by IN-FO.CO
Co-published by Inventory Press and RITE Editions

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
Design by IN-FO.CO
Co-published by The Institute of Contemporary Art at the University of Pennsylvania

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
Design by IN-FO.CO
Co-published by the Rose Art Museum

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

Design by IN-FO.CO

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

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.

5 × 6 3/4 inches, 738 pages, softcover
ISBN 978-1-941753-20-0

Design by IN-FO.CO

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

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

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.

6 × 9 inches, 296 pages, hardcover
ISBN 978-1-941753-149

Design by Project Projects

“'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)

"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 Inventory Press and Koenig Books


Rare / Last Available Copies

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

“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

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.

8 1/2 × 10 inches, 272 pages, hardcover
ISBN 978-1-941753-04-0

Design by Project Projects

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.

Edited by Elizabeth Thomas

6 3/4 × 9 inches, 208 pages, softcover
ISBN 978-1-941753-02-6

Design by Project Projects

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.

8 5/8 × 11 1/2 inches, 128 pages, hardcover
ISBN 978-1-941753-00-2

Design by Project Projects

Rare / Last Available Copies

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.

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 1/4 inches, 216 pages, hardcover
ISBN 978-1-941753-07-1

Design by Project Projects
Co-published by Zachęta—National Gallery of Art

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.

10 × 13 inches, 320 pages, softcover
ISBN 978-1-941753-03-3

Design by Project Projects

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.

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.

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.

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.

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