Long out of print, this seminal collection of essays and photographs are by artist, theorist and filmmaker, Allan Sekula. Originally published by the Nova Scotia College of Art and Design in 1984, in these essays and images Sekula sought to portray the inextricable bond between labour and material culture, drawing deeply on Marxist theory to argue passionately for a collective model of progress.

Sekula taught at California Institute of Arts (CalArts) from 1985 until his death in 2013, and from that insider’s position he critiqued photography and the circumstances of its production and consumption, exposing what the medium failed to represent—women, labourers, minorities and the institutional structures that reinforce cultural biases.

Published on the occasion of Dean Sameshima’s recent solo exhibition at Soft Opening, being alone is edited by Antonia Marsh, designed by Robert Milne, and features a newly commissioned essay from American writer, critic and poet Bruce Hainley.

In each of the twenty-five black and white photographs that comprise Dean Sameshima’s recent series being alone, the outline of a solitary viewer sits bathed in light emitting from the glowing screen of a Berlin porn theatre. These cinemas offer the kind of encounter that has been described as an “anonymous being-together”, a space wherein an individual can project not only his own desire and sexual fantasy onto the screen but disidentify with the confining projections of the external world.

Designed to protect its occupants from judgement and persecution, the artist enshrines these private rooms, continuing his documentation of the architecture and physical characteristics of queer spaces. While Sameshima atypically retains the presence of bodies in these images, with no identifying features revealed, his focus locates more deliberately on the anonymity of these individuals alongside the emptiness that surrounds them.

Produced on the occasion of Ger van Elk’s exhibition De la nature des genres at Magasin – Centre National D’art Contemporain De Grenoble, 30 April – 26 June, 1988.

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

Program produced on the occasion of #1: Street Hassle, the first in a series of screenings organised by Jacqueline, Athens at Cine Athenée, Lefkosias 43, Athens, Tuesday, October 1. Featuring films by Fikret Atay, Christos Dimas, Kaori Oda, Helke Sander and Nicole-Antonia Spagnola.

Barbara Bloom and Ben Lerner share a fascination with intricate dramas of framing and reframing: what happens to an image or a phrase when it is re-encountered, recontextualized, recombined — when a particular frame of reference is established or collapses? How is meaning accrued or eroded through repetition, across pages or generations? How are images or sentences enlisted in — or suddenly freed from — the construction of our personal and collective mythologies?

Marcel Broodthaers worked primarily as a poet until 1963, when for the last twelve years of his life he made a richly varied, elusive, and influential body of work. The work he created in this albeit too brief time period was enormously influential to future generations of artists. Known for his associations in which he explores the nature and meaning of language, word and image, and rhetoric, his work encompasses poetry, writing, books, film, photography, slides, drawing, painting, and sculpture.

*Please note this publication is secondhand and has some traces of previous ownershi