Inventory Press – serie

Chronicling 10 years of the duo's collaborative practice and their influential artist-run performance and theater spaces in BerlinThis book, German Theater 2010–2022, is the first monograph on the work of the artist duo Calla Henkel and Max Pitegoff. Their manifold practices play out, live test and fictionalize the mechanisms that shape creative communities. Chronicling over a decade of production in Berlin, the book is organized around the influential bar and theater spaces they ran there: Times Bar (2011–12), New Theater (2013–15), Grüner Salon at the Volksbühne (2017–18) and TV Bar (2019–22). Rooted in a renewed conceptual approach to photography, Henkel and Pitegoff’s oeuvre spins an allegory of this historical moment in which precarity and gentrification are two sides of the same coin. Their photographs, plays, writings and films address the complexity of collective action, painting a deadpan picture of the social and economic systems that sustain communal exchanges and their eminently fragile autonomy.Calla Henkel (born 1988) is from Minneapolis and based in Berlin and Los Angeles. She is the author of Other People's Clothes (Doubleday, 2022) and Scrap (The Overlook Press, 2024). She has staged plays at Volksbühne Berlin and the Whitney Museum of American Art, and her artistic work with Max Pitegoff has been exhibited in museums and galleries worldwide. Together with Pitegoff, she operates New Theater Hollywood in Los Angeles.Max Pitegoff (born 1987) is from Buffalo, New York, and based in Berlin and Los Angeles. His work with Calla Henkel has been exhibited in museums and galleries worldwide. Together with Henkel, he operates New Theater Hollywood in Los Angeles.

A long-overdue English translation of Munari's seminal tract on the everyday value of architecture and design educationThe first ever English translation of Bruno Munari's Design and Visual Communication (1968) fills a gap in Munari's output for the English-speaking world and provides a highly relevant guide to bridging architecture and design education and everyday life.Published in 1968 after Munari was invited to the Carpenter Center at Harvard to teach, the book transforms over 50 lessons, class materials and letters addressed to the city of Milan, into a book on the future of art, architecture and design. Conceived as a living volume, the book is written to inspire current and future designers to push beyond past events, however recent, and develop new tools to see and understand tomorrow's world.Accompanying the facsimile reproduction of the original volume are in-depth contextual annotations by Jeffrey Schnapp. As a Munari scholar and design historian, Schnapp has spent years unearthing the radical potential of critical historical material. His annotations and micro-interventions throughout the facsimile reprint seek to fulfill Munari's call for an evolution of the book in form and content and highlight how this work is as relevant today as when originally published.Bruno Munari (1907–98) was an Italian artist, designer and inventor who contributed fundamentals to many fields of visual arts (painting, sculpture, film, industrial design, graphic design) in modernism, futurism, and concrete art and in nonvisual arts (literature, poetry) with his research on games, didactic method, movement, tactile learning, kinesthetic learning and creativity.

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

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

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

“A colossal cinematic achievement” —Richard Brody, the New YorkerA masterpiece of identity horror and a dark reflection on America’s past and present, Us presents chilly atmospherics, psychological torment and old-world suspense-building plot twists. Whereas Get Out was considered more a mixture of drama and suspense, Peele leaned fully into the horror genre with his sophomore film, using urban legends such as doppelgangers to tease out the uniquely American perceptions of xenophobia and “othering.” Critic Monica Castillo wrote of the film: “Us is another thrilling exploration of the past and oppression this country is still too afraid to bring up. Peele wants us to talk, and he’s given audiences the material to think, to feel our way through some of the darker sides of the human condition.”Published in conjunction with the fifth anniversary of the critically acclaimed film’s release, this companion paperback features Oscar®-winning director Jordan Peele’s screenplay, alternate endings and deleted scenes, and is richly illustrated with over 150 stills from the motion picture. Specially commissioned annotations by hannah baer, Theaster Gates, Jamieson Webster, Jared Sexton, Mary Ping, Shana Redmond and Leila Taylor present a cosmology of images, definitions and inspirations that extend the themes of the film. Continuing in the legacy of 1960s paperbacks that documented the era’s most significant avant-garde films—such as Kurosawa’s Rashomon, Godard’s Masculin Féminin and Antonioni’s L’Avventura—Us is an indispensable guide to a deeper understanding of this important film.Jordan Peele (born 1979) is a writer, actor and filmmaker who rose to fame as half of the comedy duo Key & Peele. He has written and directed three feature films: Get Out (2017), Us (2019) and Nope (2022). He was the first Black screenwriter to win an Academy Award for Best Original Screenplay.

Renowned philosopher Susan Buck-Morss collaborates with Boot Boyz Biz's Kevin McCaughey and Inventory Press' Adam Michaels on this experimental image-text update of McLuhan and BenjaminRenowned philosopher Susan Buck-Morss collaborates with Kevin McCaughey of Boot Boyz Biz and Adam Michaels of Inventory Press on this experimental image-text renewal of McLuhan, Berger and Benjamin.Seeing <―> Making: Room for Thought both studies and presents the creative process of constructing ideas with images. By activating the techniques of montage and analogy, the book reveals a wide field of view and a space to engage new critical connections between a multiplicity of objects from the past and present. Realized through an intergenerational collaboration of three cultural producers committed to making theory visible, a transformative anthology of critical essays by Susan Buck-Morss anchors this kaleidoscopic project. Images and ideas sync with Buck-Morss’ perceptive texts on visual culture, history, politics and aesthetics, fusing criticism with visual play and linking collective imagination and social action.In both design and content, Seeing <—> Making: Room for Thought builds upon the dynamic sensorium of Marshall McLuhan and Quentin Fiore's book The Medium Is the Massage, Walter Benjamin's Arcades Project and John Berger's Ways of Seeing. This innovative volume brings Buck-Morss’ more experimental, visually engaged work to the fore in a way that has not been available in the usual contexts within which her writing has appeared.

A survey of recent paintings, characterized by gestural bravado and vigorous colorways, from the kinetically minded abstract artistLos Angeles–based multimedia artist Aaron Garber-Maikovska (born 1978) works across painting, drawing, performance and video—interconnected modes of communicating a vernacular of somatic expression. Maikovska is best known for his bold abstract paintings of geometric forms and his drawings of galvanic linework. Using the artist’s own body as a catalyst for investigation, the works, produced between 2017 and 2023, are corporeal articulations yielded from a mantralike exercise in muscle memory, an attempt to carve out a space for creative freedom amid the social engineering and spatial division of the postmodern world.This first monograph of the artist’s work includes an essay by Cathleen Chaffee on performance and the body, an essay by Jan Tumlir exploring the depth and delight in his paintings, an in-depth interview between the artist and Orit Gat, in an immersive exploration of his multifaceted practice.

The first-ever English translation of Bruno Munari’s classic treatise on creativity, replete with new contextualizing annotations “But isn’t imagination also fantasy? And can’t fantastic images also assume the form of sounds? Musicians speak of sonic images, sound objects. How does one invent a fish tale, an air-cooled engine, a new plastic? ... fantasy, invention, creativity think; imagination sees.”Never before translated into English, Bruno Munari’s Fantasy, originally published in Italian in 1977, invites the reader to explore their own imagination, creativity and fantasy through a journey into Munari’s mind and work. His theory of creativity, developed in conversation with the Reggio Emilia Approach (a self-guided approach to education) and the work of Jean Piaget (a Swiss developmental psychologist who proffered a theory termed “genetic epistemology”) foregrounds the book’s journey through Munari’s design processes, both working for clients and teaching design principles to children. By turning both life and work into a classroom, Munari unlocks a path through imagination in order to access his, and in turn the reader’s, deepest sense of play.The facsimile reprint is accompanied by new contextual annotations by Munari scholar and design historian Jeffrey Schnapp. These microinterventions highlight the innovations that make this work as relevant today as when originally published. Bruno Munari (1907–98) was an Italian artist, designer and inventor who contributed fundamentals to many fields of visual arts (painting, sculpture, film, industrial design, graphic design) in Modernism, Futurism and Concrete art, as well as to nonvisual arts (literature, poetry) through his research on games, didactic method, movement, tactile learning, kinesthetic learning and creativity.

Three new graphic design courses, detailed in this volume, comprise a critical companion to Reinfurt’s bestselling DIY textbook, A *New* Program for Graphic DesignThis volume expands David Reinfurt’s uniquely pragmatic and experimental approach to pedagogy into a collaborative project that weaves together a multiplicity of voices to present a polyphonic approach to design history and teaching. Three of Reinfurt’s new Princeton University graphic design courses—C-i-r-c-u-l-a-t-i-o-n, M-u-l-t-p-l-i-c-i-t-y and R-e-s-e-a-r-c-h—developed explicitly in the context of remote teaching and in light of urgent realignments around whose stories get told and who does the telling, are presented in this follow-up to A *New* Program for Graphic Design (Inventory Press/D.A.P., 2018). C-i-r-c-u-l-a-t-i-o-n examines the distribution networks for graphic design including electronic and conventional means. M-u-l-t-p-l-i-c-i-t-y, taught with mathematics professor Philip Ording, explores graphic design from the perspective of topology and topology through the practice of graphic design. R-e-s-e-a-r-c-h is an advanced graphic design class which cultivates an exploratory and expansive design process and investigates what the term ""design research"" has meant at different points in design history.From these separate angles comes a collaborative and cooperative way of telling and teaching design history, taking on subjects from the Detroit Printing Co-op, Corita Kent and Charles and Ray Eames, to Giuseppe Peano, Marshall McLuhan, Sylvia Harris and Virgil Abloh. 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 the history—and shaping the future—of our designed world.David Reinfurt is an independent graphic designer and writer based in New York City. He worked as an interaction designer at IDEO from 1995 to 1997, where he was the lead designer for the MTA Metrocard vending machine interface. In 2000, Reinfurt formed the graphic design practice O-R-G inc., followed by Dexter Sinister in 2006 and the Serving Library in 2012. He has taught at Princeton University since 2010.

Marsh’s multichannel visual interventions articulate the criticality of infrastructure, the technological image, spatial expansion, surveillance, collective labor and much morePublished with Press Enter.Part reader, part monograph, part visual essay, She Moves Me synthesizes the installation and performance pieces of Canadian artist Lynne Marsh (born 1969). Marsh’s filmed and choreographed interventions look behind the scenes, underscoring the camera’s power to delineate social spaces.

The first retrospective monograph for a legendary feminist artist and pedagogue who taught generations of artists at CalArtsPublished with Krannert Art Museum.Accompanying the first retrospective exhibition showcasing three decades of work from Millie Wilson (born 1948), this publication delves into the influential, yet under-recognized, artist and educator whose work has deftly examined feminism, queerness and their historical erasure from art institutions. Her work joins 1980s postmodernism with the personally and politically charged conceptualism of the 1990s, reflecting a particularly unruly conception of queerness that emerged in California during these decades. The catalog highlights Wilson’s appropriation of museum display practices and institutional authority, her art historical references to Dada and Surrealism, her sharp attention to gendered portrayals of sexual deviance in early 20th-century psychoanalysis and sexology, and her long-standing interest in bodies as contested sites. It also features newly commissioned scholarly essays by curator David Evans Frantz and scholar Jill H. Casid, a conversation among artists who studied with Wilson, and extensive new photographic documentation of Wilson’s work.

Social ecologies, witchcraft and hydrofeminism—a voyage through four decades of ecofeminist artPublished with The Brick.Inspired by four decades of ecofeminist thought and action in art, Life on Earth: Art & Ecofeminism presents firsthand accounts and critical assessments of the life and work of pioneering artists associated with the movement. Through bountiful essays, poems, artworks and archival materials, the reader examines each artist's contributions to the protean philosophy. Through its survey approach, Life on Earth addresses an impressive breadth of ecofeminism's concerns, including social ecologies, the commons, Indigenous cosmologies, lesbian separatism, witchcraft, hydrofeminism, plant knowledge, science fiction and speculative futures, among others. Artists include: Alliance of the Southern Triangle (A.S.T.), Alicia Barney Caldas, Meech Boakye, Carolina Caycedo, Francesca Gabbiani, Masumi Hayashi, Institute of Queer Ecology, Kite, Leslie Labowitz Starus, Maria Maea, Otobong Nkanga, yétúndé olagbaju, Alicia Piller, Aviva Rahmani, Tabita Rezaire, Yo-E Ryou, Emilija Škarnulyt?, A.L. Steiner.

The first publication in English on the career of Czech graphic designer and typographer Clara IstlerováClara Istlerová (born 1944) was one of few female designers in the male-dominated field of Czech typography. Born into an artistic family, she studied under František Muzika at the Academy of Arts, Architecture and Design in Prague. Working entirely in analog processes, she created the design for one of the most influential books on Czech architecture, Švácha, Rostislav: From Modernity to Functionalism (1985). Offering a vivid portrayal of an era where design was a tangible, labor-intensive endeavor carried out in close collaboration with typesetters and printers, A Life Among Letters unveils the artistic landscape of former Czechoslovakia through the lens of a trailblazing designer. It features an intimate interview with Istlerová conducted by Anežka Minaríková, accompanied by work from Istlerová’s personal archive and a description of her creative process in her own words.

An important collection examining the vital connections between art and pedagogyPublished with Institute for Contemporary Art at Virginia Commonwealth University.This book presents the work of artists, curators, collectives and scholars who address contemporary art as a site of learning in the 21st century. Building on earlier histories of education as civic service for the common good, it focuses on the last 25 years, as well as the question of the future of art education—as a practice that unfolds both in and beyond school. The book constructs an impressionistic constellation of case studies to see how innovations in education have had a dynamic relationship with artistic practice, alternative arts organizations, universities and museums.Contributors include: Helmut Batista, Jonathas de Andrade, Magnus Ericson, Gordon Hall, Pablo Helguera, Prem Krishnamurthy, Marilia Loureiro, Lola Malavasi, Kameelah Janan Rasheed, Sarah Rifky, Pelin Tan, Christine Tohmé, Jalal Toufic, Caroline Woolard.

Combining photomontage with portraiture and scenes of Hmong American communities, Her mixes the real with the artificial in search of a diasporic identityPublished with San José Museum of Art and John Michael Kohler Arts Center.Rooted in the experience of her Hmong community and shaped by family lore passed down by her elders, Pao Houa Her (born 1982) investigates the potential of photography to create nonlinear narratives exploring construction. She brings together formal and vernacular photographic languages manipulated into light boxes, wheat-pasted images and videos. Her's adoptive homes of Minnesota and California become stand-ins for Laos; plastic florals replace living tropics; ersatz and real meld together. The Imaginative Landscape traces Her's ever-deepening exploration into concepts of home and belonging. With essays and an artist interview, this catalog explores Her's work in genres of portraiture, landscape, still life and the vernacular, as she photographs herself and the people and places around her through the tinted lens of diasporic longing.

High-powered and psychologically charged, Sora's prismatic abstractions convey the entwined ancient and modern histories of Iraq and the Western worldPublished with Speed Art Museum.This volume is a mid-career survey of the practice of Iraqi American painter Vian Sora (born 1976). This catalog highlights approximately 20 of Sora's major works, charting her artistic growth over a period of seven years (2016–23). Documenting Sora's first solo museum exhibition in the United States, Outerworlds tells how her multivalent paintings abstractly channel the tumultuous events of her life, ancient Mesopotamian history, Western art history and Iraq's diverse landscapes, including its deserts, rivers and archeological sites. This volume features text by exhibition co-curator Owen Duffy, an interview with the artist by exhibition co-curator Tyler Blackwell and an essay exploring art historical intersections within the artist's practice—along with new photography of the artist's vibrant, multicolored abstractions.

Tumlir argues for a universal theory of gesture that transcends both the discipline of painting and the human sphereLos Angeles–based author Jan Tumlir's (born 1962) The Endless Line furnishes us with two complementary theories of gesture and aesthetics, reconciling the thoughts of such figures as Immanuel Kant and Clement Greenberg on one end with those of André Leroi-Gourhan and Gilbert Simondon on the other.

As a large-scale, participatory installation, Lozano-Hemmer's "bridges of light" create a channel of communication beyond the limits of the nation-stateComposed of powerful "bridges" of searchlights and sound across the US–Mexico border, Rafael Lozano-Hemmer's (born 1967) work Border Tuner forges a platform for local dialogue between El Paso, Texas, and Ciudad Juárez, Chihuahua, at a time of fraught border rhetoric, militarized surveillance and nationalist violence. In opposition to the modes of control and the regulation of bodies profusely developed along the border line, Lozano-Hemmer proposed a momentary alternative. To this extent, it is a critically important artistic work that strove to cultivate relations beyond the limits and perpetual violence of the nation-state. The 12 essays comprising this bilingual English/Spanish record—written by a range of historians, theorists, curators, artists and cultural workers—enter into convivial exchange with the voices and language, bodies and performances of those who activated the work.

Commemorating over a decade of MoMA’s in-person, thematic salons, through new essays and archival photographsExamining the many forms of productive gatherings, from formal conferences and roundtables to impromptu rallies and raves, this volume celebrates what is gained when we come together in physical space and walk away with unintended outcomes, insights and wisdom. Launched in 2012 and helmed by the visionary Paola Antonelli, MoMA Research & Development explores the potential and responsibility of museums as public actors and as a testing ground for ideas. The R&D Salons, which have brought together over 400 contributors to date, generate a lively discussion that not only informs the museum and its programming, but also a wider conversation in the outside world, acting as both crucibles and catalysts for new ways of thinking and doing in cultural institutions. This volume combines new essays with highlights from the extensive MoMA R&D Salon archive, looking both backward and forward to tackle topics as diverse as Revolution, Hair, Anger, Dogs, Gastrodiplomacy and Death.

A guide to Zweig's algorithmically generated sculptures that anticipated contemporary Large Language ModelsIn the early 1990s, when personal computing was young and artificial intelligence was not yet a part of the popular imagination, American artist Janet Zweig (born 1950) made extraordinary and prescient creations: sculptures that married early computers, simple algorithms and dot-matrix printers with mechanical parts to auto-generate streams of poetic text that moved objects. Richly illustrated, Recursive Apologies presents these sculptures alongside the sources that inspired them. Sporting a recursive design that mirrors the very concepts it explores, the volume offers both a visual archive and a reflection on our ongoing relationship with thinking machines. It also features essays by artists and scholars Thyrza Nichols Goodeve, Jena Osman and Johanna Drucker that evince how Zweig's witty contraptions were an early premonition of our current technological reality: an atmosphere of disinformation, fake news and digital hallucinations.

The first ever major monograph dedicated to Coulter Fussell, the artist creating "quilt-works" sourced from networks of exchange and reuse in the American SoutheastPublished with Mississippi Museum of Art.This catalog accompanies the first museum survey of work by emerging Mississippi-based artist Coulter Fussell (born 1977). Fussell's "quilt-works" are multidimensional landscapes of the American South. Often referencing specific regional geographies, her assemblages are materially grounded in rural networks of exchange and reuse: they are constructed entirely from textiles, printed matter and other items donated by neighbors in Fussell's hometown of Columbus, Georgia, and Mississippi's Yalobusha County, where the artist now lives. Across artwork images and a series of essays, The Proving Ground traces how the "ground" mutates across Fussell's works. Often using the compositional elements of landscape to create parallels between environmental and interpersonal terrains, Fussell's art questions the perceptual, psychological and cultural "grounds" that frame our experience, determine our sense of place and shape what we believe.

A meditation on migration, exile and memory: de Waal’s poetic installations of porcelain vessels and shards enter into conversation with an iconic Los Angeles cultural center Published with The Huntington.British artist and writer Edmund de Waal (born 1964) is known for installing exquisite porcelain vessels in historic spaces. At The Huntington in Los Angeles, his interventions and artworks explore the movement of ideas, people and objects—what Chinese poet Bei Dao calls the “eight directions of the wind.” In this volume, de Waal writes of the interactive and contemplative spaces he has created in The Huntington’s Chinese and Japanese Gardens and The Huntington Art Gallery. Each installation incorporates text, natural materials and recent works by de Waal that create new perspectives and connections among The Huntington’s collecting areas. An in-depth conversation between de Waal and cultural historian Josh Kun offers context for the artist’s interventions, set against Los Angeles’ mix of cultures. To round out the volume, the pair curated a selection of poems on exile that speaks to global histories of migration.

A compilation of the designer and architectural theorist's writings on the interstices of art, architecture and cities from the past 30 yearsIn this comprehensive survey of his writing to date, Los Angeles–based designer and architectural theorist Joe Day (born 1967), who leads Deegan-Day Design LLC and serves on the design and history/theory faculty at SCI-Arc, examines the intersections of architecture, contemporary art and urbanism as interdependent visual and spatial disciplines. Including pieces for both academic and general readership, letters, reviews, public addresses and responses, Essays offers a full account of Day's 30-year critical development, and a revealing look at LA's built environment and intellectual climate at the turn of the millennium.Organized in three chronological sequences—"Transgressions," "Situations" and "Reactions"—this collection begins with nominalist observations on art and architecture, then turns to writing on cities, and concludes with responses to major works and figures including Frank Gehry, Peter Eisenman, Mike Davis and Rosalind Krauss, as well as many more recent protagonists.

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

Cut, paste and Riot Grrrl: on the gloriously energetic paintings of Molly Zuckerman-HartungComic 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.

Considering the overlooked importance of science-fiction fandom and the occult to queer history in the USScience fiction and occult communities helped pave the way for the LGBTQ+ movement by providing a place for individuals to meet, imagine and create a life less restricted by societal norms. Focusing on Los Angeles from the late 1930s through the 1960s, this catalog follows the lives of artists, writers, publishers, early sci-fi enthusiasts and progressive communities such as the L.A. Science Fantasy Society (LASFS), the Ordo Templi Orientis at the Agape Lodge (O.T.O.) and ONE, Inc. Spanning sci-fi fandom, aerospace research, queer history and the occult, Sci-fi, Magick, Queer L.A.: Sexual Science and the Imagi-Nation reveals how artists, scientists and visionary thinkers such as Kenneth Anger, Lisa Ben, Margaret Brundage, Morris Scott Dollens, Renate Druks, Curtis Harrington and Jim Kepner worked together to envision and create a world of their own making through films, photographs, music, illustrations, costumes and writing.Featuring seven original essays on topics drawn from its accompanying PST ART exhibition, authors Joseph Hawkins, Joan Lubin, Alexis Bard Johnson, Ben Miller, Judith Noble, Kelly Filreis and Susan Aberth illuminate this unique historical moment alongside a generous selection of illustrations from salacious pulps, ritual paintings and archival materials. It will appeal to amateurs and enthusiasts alike, introducing rarely discussed artists such as Morris Scott Dollens, Renate Druks and Wallace Smith. Widely known figures including Cameron, Lisa Ben and Kenneth Anger are also given renewed consideration within these new contexts.

Showcasing a collection of innovative typeface designs alongside the stories of the countercultural queer figures who inspired them Published with Library Stack.This volume, A Queer Year of Love Letters, expands upon the eponymous series of openly downloadable typeface fonts by New York–based designer and alphabet artist Nat Pyper. The letterforms in this collection are each derived from the life stories, printed ephemera and vernacular scripts of a selection of countercultural queer figures, collectives and publications from recent decades. These include Robert Ford of THING magazine, the Chinese American painter Martin Wong, the Third World Gay Revolution collective and the Women's Car Repair Collective, among others. The book showcases the biographies of these figures alongside previously unseen archival materials, as well as digital craft methodology for Pyper’s designs inspired by them. Connecting font design to queer culture, this project comes at a critical time of increasing erasure and suppression of trans and queer histories.RISD design professor Paul Soulellis writes in his essay "What Is Queer Typography?," "there is no queer typography, only queer acts of reading and writing." This book proposes a kind of compendium for that concept.In addition to a new essay from Soulellis, the book features contributions from Silas Munro, Lukaza Branfman-Verissimo, Claire Finch and others. Their essays offer emerging perspectives on queer archival practices, DIY lineages, design and politics, and love as the basis for research. This project challenges the field of graphic design—a field of signs, representations and meaning-making—to extend toward undervalued perspectives and overlooked pockets of visual and semiotic history.