Massimo Spada’s photography becomes testimony to, and an opportunity to reflect on, an extraordinarily significant work of architecture: the ‘houses’ of the new town of Longarone, designed by architect Valeriano Pastor immediately after the Vajont Dam disaster. It is a historical experience using photography, a record of reality that conciliates the relationship between individual sensibility and the world, then becoming a recollection, and once again a memory. In this open format document there is a perpetual present, a changing vision, open to continuous reinterpretation and, perhaps, new considerations.

Produced in conjunction with Niloufar Emamifar, SoiL Thornton, and an Oral History of Knobkerry at SculptureCenter, New York.

Sara Penn’s Knobkerry: An Oral History Sourcebook is the culmination a years-long oral history project, conceived and developed by writer and oral historian Svetlana Kitto, that begins to demarcate a potential sphere of influence for artist and designer Sara Penn (1927–2020) and Knobkerry, the store she founded and ran in New York City. This publication assembles fifteen long-form interviews with figures close to Penn and Knobkerry, conducted by Kitto between 2017 and 2020, including Sara Penn, Andrea Aranow, Charles Daniel Dawson, David Hammons, Joanne Robinson Hill, Kate Prendergast and Jane Barrell Yadav, Sana Musasama, Eric Robertson, Fumi Schmidt, Seret Scott, Elena Solow, Carol Thompson, Ken Tisa, and Paulette Young. It also includes extensive reproductions of archival materials related to Penn and the store, collected by Kitto in collaboration with Penn and a number of her close relations.

Also available as a free PDF here.

“The images that comprise this book come from two sheets slides that I have held onto for almost thirty years now. Over that time I have projected them talks I gave here and there, although never a talk devoted solely to the person that took them.That would be Laurie Parsons, an artist who was active between 1986 and 1994, a period of about 9 years . In the first three, she focused on found objects, things she would bring back from the urban, the natural, industrial environment, or their intersection.”—Bob Nickas, 2021

Promotional flyer for the edition The Mystic Eyes by Betye Saar, produced on the occasion of Saar being awarded the 2020 Wolf­gang Hahn Prize at the Museum Ludwig, Köln.

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

The artist, filmmaker, writer, musician and gay rights activist Derek Jarman (1942–1994) powerfully marked twentieth-century British culture. This exhibition, with some seventy works, highlights his practice as a painter and assemblagist. It focuses on the last part of his life, starting at the time of his HIV-positive diagnosis. This period coincides with the creation of his legendary garden Prospect Cottage in Dungeness, Kent, whose cultivation was both a form of therapy and a metaphor for his own survival.

Adrian Piper: Performing Objects I Have Been, 1972–2018 is a collection of documents from, or potentially relevant to Adrian Piper’s performance Some Reflective Surfaces (1975–76) edited by art historian and curator Rhea Anastas. In this early live piece, Piper dances under spotlights to Aretha Franklin’s ‘Respect’, additionally staging video feedback and filmed images of herself dancing, and two sound recordings—‘Respect’ itself, and a voice-over narrative. Some Reflective Surfaces was produced in New York in the Fine Arts Building, New York University in 1975 and then at the Whitney Museum of American Art in 1976. The performance has not been staged since. The documents of Some Reflective Surfaces include writings by, and audio transcripts of Piper. The publication is illustrated with photographs of Piper’s performances and other works.

Edited by Rhea Anastas with contributions by RoseLee Goldberg and Adrian Piper. Designed by Will Holder.