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Published in conjunction with an exhibition at Kunstverein München, this catalogue is presented as an integral part of the show, augmenting it through the presentation of subjects, aspects, and themes which are better suited to the printed medium or demand another kind of involvement. Anne-Mie Van Kerckhoven’s works involve painting, drawing, digital media, and video, and reflect her fascination from a female point of view with the representation of women in mass media, the connections between sex and technology, different knowledge systems, and the unconscious. Besides numerous works, projects, and images, the book includes insightful explanations by the artist.

Please read more about the artist's show AMVK (castillo/corrales, Paris, FR, Sept 2015), organized by Yale Union (Portland, OR).

Text courtesy Idea Books

Essays on the work of Los Angeles-based artist John Knight. With Anne Rorimer, Dan Graham, Benjamin H. D. Buchloh, Kim Gordon, Jay Sanders, Marie-Ange Brayer, Birgit Pelzer, Isabelle Graw, Alexander Alberro, Andre Rottmann. For specific, in-depth discussion on the artist and his oeuvre, go here.

By the director Richard Maxwell of New York City Players (NY)*. A practical, and poetically written guide to theater—direction, actors and acting, process, stimulus, and philosophy in making works for stage. Compactly made and very fun to read, the physical manifestation of the book is kind of a concise representation of the prose style, and, in some ways, Maxwell's approach to stagecraft. A book for those skeptical about live performance, or for those that are interested in a deeper understanding of the "why" behind it all.**

*Maxwell and actor Bob Feldman performed a reading of the book at Stand Up Comedy, June 2015.
**There's a great review on Amazon about this book, it goes ":-)))").

Artist Alix Vollum works under many guises. At the moment, her most visible might be here. This newsprint booklet mimics the alternative LA Weekly, highlighting the most visually arresting sections, its ads. Vollum reworks the signifiers, creating her own (reams and reams of) text and reflecting back the imagery into a pleasurable cloud of hedonistic mumbo jumbo. It's both a tempting reminder into the numbing glory of the marketplace, and a warning against its voodoo seductions. Looking at this is kind of like sniffing a popper. Signed edition of 500.

Made by hand, these dolls are soft and flexible, but with a certain weight to them. Their blank faces express a certain universality. Approximately 18"-18.5" tall (stand not included).

Please note: Your doll may come in one of the following colors: Light Stonewash, Medium Stonewash, or Dark Denim. Your doll may be clothed in a dress, pants, or shirt.

Veneer (or, alternately, Ve) is cultural critique via gesture, phenomena, documentation, and detritus. It's also the arithmetic of print and its possibilities, with an emphasis on technical minutia stretched to the edge of absurdity as its epistemological approach. Every issue holds secrets and gifts to the reader; cards, photos, posters, confessions. It will make you ask "why should I care?" And then you keep reading, because if you didn't care, you wouldn't care. This is tight stuff—freewheeling discipline that made an object worth keeping, and further evidence that intellectual curiosity will always always take you places you never thought relevant or possible. Quarterly.

The Gardens of Pixar, Chinua Achebe, Christopher Okigbo, Chirs Abani, Nnorom Azuonye, Michael Echeruo, Okey Ndibe, Michael Mbabuike, Chike Obi, Residents of Yellowstone County Riverbed vs. Exxonmobil Oil, A. Clifford Edwards, A. Christopher Edwards, John W. Edwards, Chevrolet Cobalt 2009 SS, Wave-adaptice modular vessels, Uluburun shipwreck stowaway house mouse, Vases, Vaccines and antibiotics in colds. Edition of 1000.

Veneer (or, alternately, Ve) is cultural critique via gesture, phenomena, documentation, and detritus. It's also the arithmetic of print and its possibilities, with an emphasis on technical minutia stretched to the edge of absurdity as its epistemological approach. Every issue holds secrets and gifts to the reader; cards, photos, posters, confessions. It will make you ask "why should I care?" And then you keep reading, because if you didn't care, you wouldn't care. This is tight stuff—freewheeling discipline that made an object worth keeping, and further evidence that intellectual curiosity will always always take you places you never thought relevant or possible. Quarterly.

About touch, and being bound. Reiki, laundry laborers, Esperanto, instructions for putting things together, an entire section in Braille that's shockingly meditative (for non-Braille readers), Manganese significance for humanity across the ages, graphs and symbols and sets - they touch, too. There's magnet in this one. Edition of 1000.

Prism of Reality, a publication about art—how its made, who makes it, how its read, why its made—in a concise, but in-depth format of two essays, two conversations, and four artist-written reviews. 

With Ian James on moving mass and space in recession times; Jon McCurley in conversation with Steve Kado on traffic in Toronto. Reviews by Greg Hayes, Nick Kramer, Lakshmi Luthra, Matt Siegle on Fiona Connor, JJ Peet, K8 Hardy, Peter Molyneux. Hand silkscreened cover by Josh Mannis. 

Film in print. From the celebrated director Owen Land (nee George Landow) (1944-2011), American filmmaker. Irreverent, intellectual, dangerous. Designed by Kaisa Lassinaro.

Commissioned by Kunstverein on the occasion of its first anniversary and the artist's exhibition. Solakov (Sofia, BG) has handwritten comments in apparently empty spaces, at weird levels that require movement and seeking on the part of the viewer. The catalogue functions as key to the physical presentation, but gives any reader a different way "in"; an imagined space, at a different time. Edition of 100. 

With Sabeth Buchmann, Natascha Sadr Haghighian, Kim West. Published after several major exhibitions by the artist, it includes over 50 plates, and essays that highlight differing aspects and interpretations of her practice. The installation artist is known for a firm reading of both object and location, which can help in turn contextualize space. In English, French, German. Edition of 1200. 

Karl Nawrot lives in France (we think). Trained in graphic design with an abiding interest in typography and type experiments, but displays the habits of an illustrator. He grapples with the conventional tools and uses of his trade, in both the physical and conceptual sense. By building 3D models, maquettes, paper monuments, anything really, he builds new models for language. Imagination as communicator and storyteller.

Mr. Nawrot often builds his own tools and models; in this case, stencil discs that act as a mechanism for design abstraction, and a cheap option for record sleeve designs. This book shows the beginning and the end. It's hard to say what's a scan, what's a photo, and what's printed. Edition of 500. 

Made by Scanlan for his 2009 exhibition at castillo/corrales, the artist has re-conceived formative economic texts by Thorstein Veblen, Joseph Schumpeter, Milton Friedman, and Edward Said as a kind of epic poem. The original essays range from anti-capitalist analyses to colonialism to the advent of American big business, newly contextualized by Scanlan to address instead the concerns of artists and the state of creative production now. By making these small, significant alterations, Scanlan shifts points—what would it mean to discuss contemporary culture in purely economic terms, think of "markets" as neighbors, or the artist as entrepreneur? A fresh, lyrical approach to subject matter that's often stubbornly pushed to wayside. Edition of 500. 

(Text below from New Documents)

Some years ago, Will Holder and Alex Waterman proposed to Robert Ashley that musicians and non-musicians might produce new versions of his operas, by way of typographical scores. The bulk of this book is a result of that proposal: scores for Dust (1998) and Celestial Excursions (2003). These operas' characters have, until now, been solely produced by and are the stories exchanged between Ashley and his "band" (singers Sam Ashley, Joan La Barbara, Thomas Buckner, and Jacqueline Humbert); in landscapes (technological, imaginary, acoustic, organisational, sonic, ocular) produced by "Blue" Gene Tyranny, Tom Hamilton, David Moodey, Cas Boumans, and Mimi Johnson—the result of a 30-year relationship. As such, any "scores" were written for this intimate readership. It hadn't been considered that any one outside this "band" might produce this work.

The scores for Dust and Celestial Excursions are preceded by a selection of Ashley's work, from 1963 to 2008, drawing attention to the varying relations between instruction and score, and the tones of instructional address. Working with these scores gave us a better sense of how each one produces a specific mode of decision-making, telling us what to put on the pages of the scores, for any reader who follows.

Yes, But Is It Edible? is the fourth in a series of publications produced with or by Will Holder and Alex Waterman that address a musicological perspective on scoring speech and the role of printed matter in collective forms of reading and writing: Agape (Miguel Abreu Gallery, 2007); Between Thought and Sound (The Kitchen, 2008); and The Tiger's Mind (with Beatrice Gibson; Sternberg Press, 2012).

Co-presented with the Western Front, Vancouver. Edition of 2000.

It's one of those books that holds much more than you might think, as the compactness of it fools you. Great re-prints of images even on the newsprint pages. It makes you think a little of Ways of Seeing (John Berger). Made in conjunction with the exhibition New Gravity (Overduin & Co., September-October 2014), organized by Eli Diner and Olivian Cha. Essays by Heinrich von Kliest, Diner, Angie Keefer, Cha. Artists in the show: Frank Benson, Judith Hopf, Angie Keefer, Kitty Kraus, Mahony, Oliver Payne, Chadwick Rantanen.

Sold as a single. Approximately 1/4" diameter.

Multidisciplinary artist Chris Evans lives and works in London, UK. With Penelope Curtis, Marina Vishmidt, Tirdad Zolghadr. Ostensibly a survey of the artist's work, with expository essays and further detail around the circumstantial thinking behind specific pieces. 

Cast in bronze or silver. A strong piece. Unisex.