Four CD box set with 96-page book and enhanced CD-ROM featuring interviews, performance footage and video scores. Includes the massive Four Violins (1964) — one of the world’s most important and space-inhaling pieces of music ever, which was only briefly available on LP. Mainline it as loud as you possibly can. Plus: Early Minimalism: April, 1965 (for solo violin and string quartet); Early Minimalism: May 1965 [performed here by Conrad, Alexandria Gelencser (cello) and Jim O’Rourke (violin)]; Early Minimalism: June 1965 (studio work for four multitracked violins with cello).

*Please note this publication is secondhand and may have some traces of previous ownership.

Frederick Weston and Samuel R. Delany come together for a wide-ranging dialogue, reflecting on their overlapping histories in Times Square, the deep impact of AIDS on their creative practices, and the ever-changing intersections of race, sex, language, and art.

With additional contributions by Bruce Benderson, Svetlana Kitto, and Tavia Nyong’o.

Julie Ault and David Deitcher illuminate the life and work of the influential art historian, New Museum curator, and Visual AIDS co-founder William Olander (1950–1989). Olander’s exhibitions challenged oppressive institutional boundaries, blew open dichotomies, and boldly confronted discrimination, sexual difference, and AIDS, shaping curatorial practice for decades to come.

Committed to using the New Museum as a platform to challenge the ideological functions of the art world, Olander invited members of ACT UP to design a multimedia installation for the museum’s window on Broadway in 1987. The first museum project to unflinchingly address the AIDS epidemic and the political figures who enabled it, Let the Record Show… became the centerpiece of art historian and critic Douglas Crimp’s impassioned call for “new cultural practices” to respond to AIDS.

A reissue of Ralph Manheim’s translation of Handke’s 1986 novel Repetition, previously out of print for a quarter of a century.

“In Repetition, Handke allows the peculiar light which illuminates the space under a leafy canopy or a tent canvas to glisten between words, placed here with astounding caution and precision; in doing so, he succeeds in making the text into a sort of refuge amid the arid lands which, even in the culture industry, grow larger day by day.” W. G. Sebald

First anthology of the writings by the American painter Steven Parrino. Predominantly a painter, in his oeuvre Parrino developed a unique visual idiom that, on the one hand, draws on various subcultural movements and, on the other, displays clear references to the history of visual art of the twentieth century and beyond. Parrino’s work is defined by an unconditional will to be free that stems from American biker culture and is also influenced by punk rock existentialism.

*Please note this publication is secondhand and may have some traces of previous ownership.

A series of 32 artist books in a boxset, in the comic book format, conceived in tribute to the late Steven Parrino. Each volume is signed by a different artist, linked in some way to Steven Parrino, by projects and exchanges, by friendship, by reciprocal inspiration. Black Noise celebrates a format that Steven Parrino was fond of, a culture that was familiar to him. The only constraint upon the authors invited in spring 2005 was the format and the title of the overall publication. Some directly evoke Steven Parrino’s personality, whereas others produce a less referential contribution.

With Rich Aldrich, John Armleder, Fia Backström, Sophie Bernhard, Peter Coffin, Philippe Decrauzat, Vidya Gastaldon & Fabrice Stroun, Gabrielle Giattino & Sarah Turner, Janine Gordon, Kim Gordon, Amy Granat, Drew Heitzler & Flora Wiegman, Jutta Koether, Alix Lambert, Balthazar Lovay, Brendan Majewski, Christian Marclay, Mass, John Miller, Thurston Moore, Olivier Mosset, Chuck Nanney, Genesis P-Orridge, Mai-Thu Perret, Carissa Rodriguez, Aura Rosenberg, Michael Scott, John Terhorst, Blair Thurman, John Tremblay, Elizabeth Valdez, Joan Wallace.

*Please note this publication is secondhand and may have some traces of previous ownership. Still in original wrappers.