An epistolary portrait of Wojnarowicz's formation as an artist and writer through his tender letters to his Parisian lover--with artwork, photographs and ephemera

This volume collects David Wojnarowicz's transatlantic correspondence to his Parisian lover Jean Pierre Delage between 1979 and 1982. Capturing a truly foundational moment for Wojnarowicz's artistic and literary practice, these letters not only reveal his captivating personality--and its concomitant compassion, neuroses and tenderness--but also index the development of the visual language that would go on to codify him as one of the preeminent artists of his generation.
Through this collection, readers are introduced to Wojnarowicz's Rimbaud series, his band 3 Teens Kill 4, the publication of his first photographs, his early friendship with Peter Hujar, his participation in the then-emerging East Village art and music scenes, and the preparations for the publication of his first book. Included with these writings are postcards, drawings, xeroxes, photo-graphs, collages, flyers, ephemera and contact sheets that showcase some of the artist's iconic images and work, such as the Burning House motif and Untitled (Genet, after Brassai).
Beyond these milestones, the book offers a striking portrayal of Wojnarowicz as a 20-something detailing his day-to-day life with the type of unbridled earnestness that comes with his age and the softness of love and longing. This disarming tenderness provides a picture of a young man who is just beginning to find his voice in the world and the love he has discovered in it. Although the two exchanged letters in equal measure, Delage's correspondences have largely been lost, leaving us with only a revelatory glimpse into the internal world of Wojnarowicz during what turned out to be his formative years.
Painter, photographer, writer, filmmaker, performance artist, songwriter and activist, David Wojnarowicz was born in Redbank, New Jersey, in 1954 and died of AIDS in New York in 1992. He authored five books, most famously Close to the Knives. Wojnarowicz attained national prominence as a writer and advocate for AIDS awareness and for his stance against censorship. His work is in numerous private and public collections, including the Museum of Modern Art and Whitney Museum of American Art, New York; Los Angeles County Museum of Art; and the National Gallery of Canada, Ottawa, among other institutions.

A lost masterpiece of visual poetry and the Black Arts Movement that created an entirely new sonic and visual landscape

N.H. Pritchard's magnum opus, The Mundus is a work that is both visual and poetic, literary and mystical. It was composed between 1965 until at least July 1971: a six-year period during which the author refined and reworked its pages, seeking out new literary forms alongside personal transcendence. Despite its ambitions and grand scope, this masterpiece has gone unpublished for over 50 years.
Subtitled a novel with voices, The Mundus combines Pritchard's earlier poetic innovations with his growing interest in theosophy. Appropriately, this lost masterpiece represents some of Pritchard's most challenging work, with the text proceeding in small leaps and sublime fractures, stuttering across the page with sonic and visual momentum as it threads through an immersive, textual mist composed solely of the letter o.
The Mundus finds Pritchard at his most radical and revelatory. An early pillar of Black poetics and a world unto itself, The Mundus must be sounded out not only with the mind but also with the mouth, body and soul.
Norman Henry (N.H.) Pritchard (1939-96) studied at New York University and Columbia University. His work has been published in two collections: The Matrix Poems: 1960-1970 (1970) and Eecchhooeess (1971). Pritchard taught poetry at the New School for Social Research and was a poet-in-residence at Friends Seminary.

Nearly five decades of work by the beloved American critic and concrete poet best known for her flower-shaped poems

This volume brings together a half century's worth of work by the renowned American concrete poet Mary Ellen Solt. One of the few Americans, and rare women, in the concrete poetry movement, Solt edited the influential anthology Concrete Poetry: A World View (1968), which brought her to the forefront of that movement not only as a poet but as an acclaimed critic. While Solt was justly celebrated for her suite of visual poems Flowers in Concrete (1966), much of her work has remained little known or unpublished. From her lyrical engagement with the idiom of William Carlos Williams to her masterful forays into visual and concrete poetry, this volume, assembled and edited by her daughter Susan Solt, provides an in-depth document of a truly singular writer who was at the center of some of the most daring global poetic developments of the mid-20th century. The centerpiece is the section Words and Spaces, which presents Solt's concrete poems as she envisioned them: typographically precise, visually stunning and commanding on the page.
Mary Ellen Solt (1920-2007) was a writer, a scholar and an early practitioner of concrete poetry. Solt authored several poetry collections including A Trilogy of Rain (1970) and The Peoplemover 1968: A Demonstration Poem (1978). Her flower poems have been exhibited internationally, most recently at the 2022 Venice Biennale and at the Getty Center in 2017.

In this critical history, DeForrest Brown, Jr makes techno Black again by tracing the music's origins in Detroit and beyond

In Assembling a Black Counter Culture, writer and musician DeForrest Brown, Jr, provides a history and critical analysis of techno and adjacent electronic music such as house and electro, showing how the genre has been shaped over time by a Black American musical sensibility.

Brown revisits Detroit's 1980s techno scene to highlight pioneering groups like the Belleville Three before jumping into the origins of today's international club floor to draw important connections between industrialized labor systems and cultural production. Among the other musicians discussed are Underground Resistance (Mad Mike Banks, Cornelius Harris), Drexciya, Juan Atkins (Cybotron, Model 500), Derrick May, Jeff Mills, Robert Hood, Detroit Escalator Co. (Neil Ollivierra), DJ Stingray/Urban Tribe, Eddie Fowlkies, Terrence Dixon (Population One) and Carl Craig.

With references to Theodore Roszak's Making of a Counter Culture, writings by African American autoworker and political activist James Boggs, and the techno rebels of Alvin Toffler's Third Wave, Brown approaches techno's unique history from a Black theoretical perspective in an effort to evade and subvert the racist and classist status quo in the mainstream musical-historical record. The result is a compelling case to make techno Black again.

DeForrest Brown, Jr is a New York-based theorist, journalist and curator. He produces digital audio and extended media as Speaker Music and is a representative of the Make Techno Black Again campaign.

The complete collection of Fluxus' newspapers featuring work by iconic conceptual artists, writers and composers

This volume collects all 11 newspapers published by the Fluxus artists' collective between January 1964 and March 1979. Although published irregularly, the newspapers promoted Fluxus events and publications--especially the group's famous multiples and Fluxkits--with advertising materials, order forms and price lists interspersed throughout.
More than just a space for promotion and information, the newspapers featured artworks by more than 60 artists as well as appropriated newspaper headlines, advertisements, articles and comic strips. The Fluxus Newspaper exemplifies the group's do-it-yourself attitude: an approach that is comical, collaborative, interdisciplinary and anti-commercial. The periodical is also an early example of the artist newspaper: a medium which grew out of the underground press movement and flourished in the late '60s and '70s as artists sought new mediums for distributing their work.
Artists include: Ay-O, Carol Bergé, Joseph Beuys, Walter De Maria, Willem de Ridder, Robert Filliou, Ken Friedman, Allan Kaprow, Alison Knowles, George Macunias, Yoko Ono, Nam June Paik, Ben Patterson, Dieter Roth, Takako Saito, Wolf Vostell.

A full facsimile reproduction of the era-defining queer magazine that documented Chicago's Black nightlife scene of the early '90s

Started in 1989 by designer and writer Robert Ford, THING magazine was the voice of Chicago's queer Black music and arts scene in the early 1990s. Ford and his editors were part of the burgeoning house music scene, which originated in Chicago's queer underground, and some of the top DJs and musicians from that time were featured in the magazine, including Frankie Knuckles and RuPaul. THING published 10 issues from 1989 to 1993, before it was cut short by Ford's death from HIV/AIDS-related causes.
While THING primarily focused on music, it also opened its pages to a wide range of subjects: poetry and gossip, fiction and art, interviews and polemics. The AIDS crisis loomed large in its contents, particularly in the personal reflections and practical resources that it published. In a moment when the gay community was besieged by the AIDS crisis and a wantonly cruel government, the influence and significance of this cheaply produced newsprint magazine vastly exceeded its humble means, presenting a beautiful portrait of the ball and club cultures that existed in Chicago with deep intellectual reflections. THING was a publication by and for its community, and understood the fleetingness of its moment.
To reencounter this work today is to reinstate the Black voices who were so central to the history of AIDS activism and queer and club culture, but which were often sidelined by white queer discourse. This volume collects all 10 editions of this iconic magazine.

A fascinating account of Lankton's inquisitive, sociological and emotional ruminations in advance of her gender-affirming surgery

This is one of the earliest of Greer Lankton's (1958-96) journals, sketchbooks and daybooks to appear in the artist's archives, and the first to be published in facsimile form. Written during her time as an art student at the School of the Art Institute of Chicago, the journal offers key insights into Lankton's mind at work before her career-defining move to New York in 1978, where she would become an important figure of the East Village art scene in the 1980s and early '90s with her lifelike dolls and theatrical sets.
Containing drawings, behavioral diagrams and aspirational, occasionally confessional writing, the journal is a record of imagining the body and mind reconciled through transformation. In these pages, the 19-year-old turns an inquisitive, sociological eye toward the emotional landscape and somatic effects of the days recorded here; days leading up to her decision to undergo hormone treatment and gender-affirming surgery in 1979. Lankton reflects with raw vulnerability and keen self-awareness on critical questions of self-image, social perception, gender normativity and human behavior.

Cherry Wagon is a spiritual pilgrimage built for speed. Jack is a young ballet instructor driving warp speed through the night sky in search of his son, Blue.

Fueled by diesel, nicotine and tragedian humility, we navigate the cosmos through his fractured correspondence with Jane, the only person who gets it.

What lies ahead on this odyssey are trips down the color spectrum, brief (often comical) meditations on America, and pie.

Cherry Wagon is the lightning quick debut novel by Joseph Matick.

Disorderly Magic and Other Disturbances is a pop meditation on a number of themes: speed, delirium and distance, disillusion, urbanity, various manifestations of the idea of the wilderness and the wasteland, madness, dissolution, memory, mourning, forgetting, hauntology, hauntings, rapid transits, the non-existent, and conjuring the future. The work mixes magic, culture, mystery, memoir, history, melodrama - it is an invocation, an evocation, with dreamlike freedom of movement between past and present, from personal to universal.

An anthology of Abu Hamdan's disquieting audio-essay monologues on the soundscape of political life

This volume compiles transcripts from performances and films by Beirut-based Lawrence Abu Hamdan (born 1985), an artist known for his political and cultural reflections on sound and listening. Taken from seven works dating from 2014 to 2022, Abu Hamdan's intricately crafted monologues are at times intimate, humorous and entertaining, yet politically disquieting in their revelations. Utilizing personal narratives, anecdotes, popular media and transcripts rooted in historic and contemporary moments, the artist leads the reader through his investigations into crimes that are heard but not seen. His live audio essays are an exercise in listening to acoustic memories, echoes of reincarnated lives, voices that leak through walls and borders, the drone of warfare, cinematic sound effects, atmospheric noise, the resonant frequencies of buildings and the sound of hunger.
Collected here for the first time, all the texts were transcribed from performance documentation and edited with the artist.

A rich and engaging facsimile of the artist's first visual poetry book, self-published in 1968

The paintings of Chinese American artist Martin Wong (1946-99) are celebrated for their affecting fusion of social realism, visual language, queerness and racial identity.
Footprints, Poems, and Leaves is a facsimile of his first poetry book, self-published in 1968. The volume collates dozens of poems written by Wong between 1966 and 1968, a tumultuous period in his life spent at the epicenter of the hippie movement in the Haight-Ashbury neighborhood of San Francisco. Handwritten in what would become his signature calligraphic style, Wong's poems presage the haunting sensibility of his later visual works. The thematic content of the poems ranges from surrealist descriptions of the urban subculture that surrounded him to downtrodden yet tender biographical entries. This new edition possesses a double cover showcasing intricate drawings of skeletal angels and other tableaux, as well as a folded, looseleaf broadsheet containing two poems and a drawing of a bony leaf.

Artist writings that advocate an exilic filmmaking practice, moving beyond national identity and the politics of place

This collection of writings by artist and filmmaker Tiffany Sia (born 1988) gathers six essays that offer a framework for fugitive cinema. Written in the wake of the 2019-20 Hong Kong Protests ignited by the Anti-Extradition Bill Movement, Sia's writings survey the rise of a new documentary vernacular being produced by a wave of emerging filmmakers breaking from the nostalgia of Hong Kong's cinematic golden age. As a practitioner and thinker, Sia has been at the forefront of a nascent generation of artists working to trace social unrest and political crackdowns. Drawing from personal experience and historical study, her writings offer urgent reflections on a cultural landscape changed by censorship and surveillance.
An essential counterpart to her oeuvre, this volume is a critical intervention into global film studies, the politics of film/photographic practices and experimental approaches to documentary. Film stills from filmmakers Chan Tze-woon and the anonymous collective Hong Kong Documentary Filmmakers, photographs by artist An-My Lê and images from Sia's short film The Sojourn (2023) are interspersed between each essay, inviting the reader to consider a cinema by other means.

What happens when a fierce storm leaves a baby duckling cold, wet, and alone in the world? Follow along as a big white dog saves this little yellow duck, resulting in a real-life friendship that celebrates the power of kindness.

Written by New York Times and USA Today bestselling author Julie Cantrell-and including her family's photos of these two unlikely animal friends-this story will delight young readers, teach the importance of empathy, and remind us all to love one another.

As a certified speech-language pathologist, reading interventionist, and literacy advocate, Julie's picture books instill a love of story in young readers while giving teachers, parents, and librarians a quick read-aloud that will engage active preschool-aged children (even those with short attention spans).

Ideal for storytime, bedtime, or as a sweet gift for the littles in your life, this real-life tale of compassion emphasizes the importance of forming healthy friendships and offering support to those in need-even those who seem different from us.

✓ Ideal for teachers, parents, and librarians to read-aloud

✓ Geared for the short attention spans of preschool and kindergarten students

✓ Teaches the importance of empathy, compassion, and friendship

✓ Offers developmentally appropriate vocabulary for children as young as 3-5 years of age

✓ Could be used by faith-based teachers/parents to supplement the parable of The Good Samaritan

✓ Includes colorful photographs and clean fonts to engage young readers

✓ Emphasizes themes of inclusion, kindness, and healthy relationships

✓ Supports early-childhood learning skills (size, shape, color, number, etc.)

✓ Links to bonus content on TikTok

A long-awaited facsimile of Lawrence and Hujar's legendary '60s magazine documenting artists and photographers from Diane Arbus and Yayoi Kusama to Paul Thek and Lucas Samaras

Published by Steve Lawrence and edited alongside Peter Hujar and Andrew Ullrick, Newspaper was issued in New York City between 1968 and 1971. A wordless, picture-only periodical that replicated the scale of the New York Times, Newspaper ran for 14 issues and featured the disparate practices of over 40 artists. With an editorial focus on placing appropriated material alongside new artworks, the periodical sought to codify a visual language of high and low culture that represented contemporary society in the late 1960s. While largely overlooked in art-historical discourse, Newspaper showcased many of the most revered artists working in the United States at the time, as well as an emerging coterie of queer artists.
All issues of Newspaper are collected and reprinted here for the first time.
Artists include: Diane Arbus, Art Workers Coalition, Richard Avedon, Clyde Baines, Sheyla Baykal, Peter Beard, Brigid Berlin, Richard Bernstein, Ann Douglas, Paul Fisher, Maurice Hogenboom, Peter Hujar, Scott Hyde, Christo and Jeanne-Claude, Ray Johnson, Edwin Klein, Yayoi Kusama, Gerald Laing, Dorothea Lange, Steve Lawrence, Jeff Lew, Roy Lichtenstein, Frank Mercado, Duane Michals, Jack Mitchell, Forrest Frosty Myers, Billy Name, Stephen Paley, Warner Pearson, Warner Piepke, Charles Pratt, Joseph Raffael, Mel Ramos, Lilo Raymond, Ruspoli-Rodriguez, Lucas Samaras, Alan Saret, Bill Schwedler, Leni Sinclair, Norman Snyder, Elizabeth Staal, Stanley Stellar, Terry Stevenson, Paul Thek, Andrew Ullrick, Andy Warhol, William T. Wiley and May Wilson.

Do you feel it? I'm holding your hand. Come with me. Look! There's a mirror, many mirrors! They are watching us, but we don't have to care. This night belongs to us. This infinity. Come! ... World! Just watch us...as we prowl the arcades of fallen memory...

A bold, pioneering, free-souled and long-rare classic of concrete poetry, available for the first time in 50 years

Originally published by Doubleday and Company in 1970, N.H. Pritchard's The Matrix was one of a tiny handful of books of concrete poetry published in America by a major publishing house. Sadly, the book was given little support and was not promoted, and it has long been out of print. However, it remains a cherished item for fans of poetry due to its unique composition, and difficult but rewarding poetics. Forcing the reader to straddle the line between reading and viewing, the book features visual poems that predate the experiments of the Language poets, including words that are exploded into their individual letters, and columns of text that ride the edge of the page.

Praised as a FREE souled work by Allen Ginsberg, The Matrix feels as fresh and necessary today as when it was first published. This new facsimile edition, copublished by Primary Information and Ugly Duckling Presse, makes the book available to a new generation of readers.

Rhododendron, Rhododendron welcomes you into the world of a young girl desperate for love, beauty, and an escape from the excruciating ennui of growing up. As intimate as a diary, but far less honest, Rhododendron, Rhododendron reads as a dark comedy and a pop-art anthem, sprinkled with references from Gregory Peck to Linda Manz. Parker Love Bowling's debut poetry collection takes you on a journey that transcends time as she navigates her feelings about old lovers, old films, old men, and impending womanhood. Though as bleak as the words on the pages may be, Bowling does everything in her power to retain the writing's beauty, as well as her own.

Dracula, 9-11, Cats.

There must be an invisible leash. In Stab the Remote, death is always close, like halitosis. Eisenlohr's vignettes are told with a lyrical gift reminiscent of Brautigan, Denis Johnson, Jennifer Clement. The narrator and the people he loves inhabit a circular terrain: Service industry nightmares. Porn. Pills. Blackouts and revelations. Acrobats of the eleventh hour are here. The Honey Bucket Hooker is here. You will find yourself here.

Commemorative coins, patches, mugs and other ephemera from the shadowy world of US military aviation and aerospace

In From the Archives of Peter Merlin, Aviation Archaeologist, multidisciplinary artist Trevor Paglen (born 1974) collaborates with Peter Merlin, a former NASA archivist, on this new artist's book featuring a photographic inventory of objects from the aerospace historian's archive of research culled from military bases such as Area 51.

Featuring images of challenge coins, patches and commemorative mugs from within these bases, as well as debris recovered from the surrounding crash sites, the book presents both a social and technological investigation into the US government's secret aviation history from the atomic age to today's drone wreckage.

The symbols and texts featured on these objects that celebrate covert missions range in character from goofy to sinister, though their actual meaning may never be fully explained to the public. In addition to photographic images, the book includes an essay by Paglen as well as in-depth captions of the archive's inventory, offering context for this history and addressing the present-day ramifications of these military advancements across the realms of communication, surveillance and warfare.

Thanks to lucrative gem mines and easy trade routes, the beautiful people of Gildernosh have long believed their realm was untouchable. Ruled by the Lord Protector until his daughter Mila ascends the throne, they aren't as protected as they once believed. Enemies are at the borders and their easy way of life is being threatened.

Mila knows what must be done to ensure the safety of her people. Unfortunately her father doesn't agree. Against his wishes, Mila makes a dangerous decision and sets out with her closest companions- an overly flirtatious gnome and a surly sprite- to the horrifying realm of Thornscarp. In the physically stunning land filled with denizens thought descended from demons, Mila is shocked to see all manner of people with horns and claws, wings and scales. There she does the unthinkable. She offers herself in marriage to the Mighty Prince Edonier, a savage warrior who just might be as much monster as he is man.

Mila's proposal is met with more than one challenge. Although she's yet to set eyes on the brutal man, she must stay in the terrifying land for a month while the King and Queen of Thornscarp make a decision. Between the queen's tests, unexpected assassination attempts, the ire of her father, and her chemistry with the beast of a guard assigned to watch over her, soon Mila isn't sure if she'd rather sacrifice her heart or her queendom.

With elements of The Princess and the Pea deliciously mashed together with Beauty and the Beast, The Thornscarp Proposal is a whimsical fantasy romance, sure to have readers swooning and giggling with each turn of the page