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Tuesday or September or The End by Hannah Black is an incisive and playful work of speculative fiction that explores the rupture year of 2020, when aliens finally invaded. Hannah Black is an artist and writer from the UK. She lives in New York. She has written for a number of publications including The New Inquiry, Artforum, and Bookforum. Her previous books include Dark Pool Party (2016) and Life (2017, with Juliana Huxtable). She is represented by the galleries Arcadia Missa in London and Isabella Bortolozzi in Berlin. Praise for Tuesday or September or the End: Tuesday or September or the End puts calendar time back into messianic time, and also the reverse. An account of the last two disorienting years in history, in our lives, this intimate and funny and abstract fiction uses fable, and unreality, to flood a reader with the real, to remind her what is at stake. — Rachel KushnerAllegory and satire, alert and conscious, Hannah Black’s Tuesday or September or the End, is an existential novel. Narrative innocence is not the engine of this work; knowledge of life in the modern is. Bird and Dog, Black’s wide awake and dreaming characters, are electric and wise. This novel is fluent in our dystopia and utopia. — Dionne BrandAn acid calendar of planetary rot and revolt, Hannah Black’s new novel listens for that alien language of the future: total social transformation. Staging debates on communism and social democracy, or unraveling the double helix of race and capitalism, Black’s calendar is one that breathes and breaks, figuring the temporal hiccups of revolution. Suddenly it’s no longer endless winter and our narrator Bird, much like chirping in early spring, brings us to witness the reanimation of the world. — Greg NissanIn Tuesday or September or the End, we see ourselves battered by time, which isn’t real, and chance, which is. But just as “the world resists its reduction to winter,” Hannah Black’s writing, in its passionate grasp of possibility, resists spiritual suicide. The book is deeply felt because the pain of attachment is close to its center and funny because life is currently absurd. But what I love most about it, reading its compact brilliant sentences in this sunless covid afternoon, is the way it makes an argument for clarity, which really can—partially, briefly, and when it matters most—sometimes be achieved. — Benjamin Krusling

“a slight cast down at the edges of the lips brings together work from the last decade of Katherine Hubbard’s prolific practice, which intertwines analogue photography, writing, and live performance. Reproductions of exhibited prints, a selection of new photographs, and images created from within her performances are gathered here, along with four of the artist’s original written works. This publication marks the first occasion for Hubbard’s photographs and writings-for-performance to exist on the same scale, that of the book. ”— co-editor, Corrine FitzpatrickThe book is accompanied by a poster with a full-scale detail reproduction of Katherine Hubbard's rip stop weave artwork, printed on glossy tissue paper. Additional contributions by Zoe Leonard, Mónica de la Torre, Elisabeth Sherman, and Lynne Tillman. Edited by Corrine Fitzpatrick and Lara Mimosa Montes.

Set within the contexts of colonial history and religious syncretism, Tránsito is a lush study on transformation and resistanceMexican photographer Roberto Tondopó's (born 1978) Tránsito is a photographic exploration of grief, ritual and identity. This photobook connects the death of Tondopó's father, Tránsito, with the artist's participation in the Chuntá, a local festival where men dress as women in honor of Saint Sebastian. By becoming a Chuntá, Tondopó pays tribute to his father and reflects on how mourning can prompt personal and cultural transformation. The Fiesta Grande embodies both tradition and contradiction: a deeply conservative community embracing a public ritual of gender fluidity. This tension serves as a point of departure for the project's broader interrogation of identity, focusing on the instability of fixed categories such as masculinity, sexuality and national heritage. The book's special features include a Japanese top-folded interior as well as a tipped-in sticker. 208 pages, Japanese fold. Cover with tipped on photo in three variants.

On November 13, 2011, Capricious Publishing celebrated the release of artist K8 Hardy’s latest book, Frank Peter John Dick. Hardy’s work riffs on pop culture and all the images we encounter as consumers. The art she exhibits are photographs and sculptures, but part of her process is gathering masses of images from disparate sources and obsessively collaging them together. In a sense, these collages are edits of photos torn from magazines, printed advertisements, and other visual imagery that Hardy finds compelling. Yet they also include her darkroom test strips and snapshots found at the junk store. These collages were never originally intended for exhibition or print, but merely research for the artist’s work. It was only after a few people saw them in her studio that she was encouraged to show them. For this reason, the collages are powerful and weighty; each is it’s own essay. Hardy has made visual examinations that deal with complicated ideas, issues of representation, phenomenon in style, and playful contemplations of fashion.

A book of prolific collage work, ROYAL ORPHAN is the result of Ibarreche’s methodic scavenging and hyper meditation on small details overlooked. She is at once an editor and alchemist, imbuing found imagery with new and layered meaning—deeply coded with the canon of queer and outsider attitude. Hidden messages, double entendres, bold symbol and sign draw you into her reassembled world—at times desperate and frenetic and, at others, emerging as shelter for her infinite play. Amber Ibarreche is an art maker, skateboarder, and composer of words. The subculture of skateboarding, the music scene and comic book clubs sparked her first interest in art and alternative movements. Today, she makes zines, collages, drawings, and writings. Living and working in Brooklyn, New York, Ibarreche hails from Jacksonville, Florida. Amber is also known for her silk-screened fabric jewelry and clothing line, IBARRECHE.

High Tails is an eclectic volume of photography celebrating horses and commemorating Capricious’ tenth anniversary in publishing and supporting emerging and underrepresented artists . High Tails is a 250+ page book of photography—including iconic images of horses throughout the 20th century alongside work from contemporary and emerging photographers. Featuring the work of over 80 artists including Dorothea Lange, Robert Mapplethorpe, Nan Goldin, Helmut Newton, Richard Prince, Viviane Sassen, Petra Collins, Collier Schorr and Ryan McGinley.

In her highly anticipated book Discharge, Canadian-born, New York–based artist and photographer Petra Collins (born 1992) presents images of self-discovery and femininity that explore the emotional, complex intersection of life online and off. Responding to the ubiquity of social media, Collins offers images of unflinching honesty--girls on the brink of adulthood taking selfies, applying lip gloss, pleasuring themselves, or lounging in childhood bedrooms amid piles of stuffed animals--which explore the private and public aspects of growing up as a woman at a moment when female bodies are ubiquitously hyper-mediated by Photoshop and social media. "I'm used to being told by society that I must regulate my body to fit the norm," Collins writes in her introductory essay on censorship and social media. From there, the book deconstructs that norm through her intimate photographs of friends--photographs that, rather than counter the male gaze, document female subjects processing it. The young Collins uses film, lending her photographs, in spite of their inclusion of iPhones and laptops, a 70s aesthetic, a romantic nostalgia. Discharge includes a discussion between Collins and her friend, Rookie blogger and founder Tavi Gevinson, moderated by artist K8 Hardy. The photographs and discourse around them are part of a contemporary girl power revolution, proving that feminism and sexuality aren't mutually exclusive.

Stranger Lives is a vibrant taxonomy of sunbathers developed primarily on the sand between Coney Island and Brighton Beach from 2008 to 2015.   Shot with a Mamiya RZ 6x7 camera and Kodak Portra film, the photographs possess a sharp focus and flattened perspective from above, invoking a specimen-like quality. Through this work, Priceplays with the legacy of the uncanny— making the familiar strange, and drawing the viewer into an intimate and voyeuristic exploration of object and body.

Sasha Phyars-Burgess’ first monograph, Untitled. Spanning three bodies of work, this 200-plus page monograph includes poems by Ser Alida and Aurora Masum-Javed, a conversation between Sasha Phyars-Burgess, Juliana Huxtable and Carolyn Lazard, and essay by Bill Gaskins. Designed by Studio Lin. As recipient of the second annual Capricious Photo Award, Sasha is a vital, emerging voice in contemporary photography, engaging the charged line between documentary and fine art. Her work ranges from affecting studies on diaspora, family and place to revolving social phenomenons in which energy, beauty and power meet. The second annual jury panel was helmed by Capricious Founder and Publisher Sophie Mörner and Associate Publisher Anika Sabin alongside Lauren Cornell, Katherine Hubbard, JOFF, Matt Keegan, Guadalupe Rosales, Ka-Man Tse, and Lyndsy Welgos.

“Chase renders queer bodies bare and exposed, showing them to contain at times uncomfortable, painful and deeply haunted spaces also capable of heartbreaking love, closeness and quietness.” –Megan N. Liberty, Brooklyn Railwild wild Wild West / Haunting of the Seahorse is a nonlinear tale illustrating Black queer bodies moving through fluid states of love, grief and desire within the canons of science fiction, fantasy and horror. Like a love letter, the book employs multisensory entanglements, a blending of the abstract and physical, to draw out complex histories of Blackness, meditations on mental health and queer futurity.