David Carl
Now available.
Twenty Dollars.
An extended meditation on the sentence–an inquiry into how we make use of language to express our selves, and an investigation of how language helps shape and determine who and what those selves are.
An imaginary conversation between Falstaff and Chuang Tzu, Veronica Lake and Ludwig Wittgenstein.
A love story told through grammatical miscalculations, syntactical anomalies, and the fortuitous discoveries of vocabulary:
Intelligence is manifest in the ability to get what one wants, wisdom in the ability to properly determine what that is.
For months he lived on Altoids, coffee, vitamin C, and the hope that she would call.
There is no present like the one you imagined in the past.
Skepticism as a kind of tourism.
An economy all their own in which his vocabulary is not even legal tender.
ON DESIRE
Chaz Reetz-Laiolo
Ten Dollars. Edition of 150.
Due out in 2007/2008
LUST AND CASHMERE
A.E. Simns
Twenty Dollars. Edition of 500.
Now available..
Things can happen when a man falls in love with a sweater. This book is about an unrequited love limited to self-imposed doctrines of propriety. Any number of intellectual conclusions can be drawn, but even the most serious will have to negotiate the gutter, which plagues Jon McManus and eventually the reader. It is divided in three parts, beginning with a Cinderella story. The first part is a straightforward narrative, the second a play of absurd humor and the third a choose your own adventure.
PHONEBOOK
Edited by Caroline Picard
Includes over 150 alternative art spaces across the country plus ten supplementary essays.
Published w/ ThreeWalls
Ten dollars
Because a space heater and good friends can be a million times warmer than central heating and track lighting, Phonebook is an invaluable, yet by no means exhaustive (yet) guide to America’s finest alternative artspaces. These are the galleries you are unlikely to find in your average tourist guide, the ones located in basements, in lofts, off of alleys, in suburban back yards. These are the movies Moviefone won’t tell you about and the lecture series you won’t find among your course guides. These are the places that will remind you why you liked this stuff in the first place.
SKETCHBOOK: ORGANIZING ARTS
Edited by Elizabeth Chodos & Kerry Schneider
Twenty dollars (w/silk screened cover and original print)
Edition of 500 w/ covers
Ten dollars (no frills) edition of 500.
Just as an artist must defer to his or her idea, the curator of an exhibition must defer to the art. And, for the same reasons that an artist’s sketches, revisions, and failures don’t hang on the wall next to the finished project, a curator’s notebooks, memos, and emails should remain behind the scenes.
The Sketchbook illustrates what ideas look like when they are forming. We are publishing this book with the hope that arts administrators of all kinds can pick it up, flip through its pages and become inspired. We are publishing this book so that non-arts administrators can see the mess behind the Wizard of Oz. This communal collection of "sketches" will pass ideas for exhibitions, organizational structures, or academic projects between colleagues and strangers in an effort to connect people and expand thinking on arts administration.
The Sketchbook is being published in a limited edition of 500 hand-bound copies with a hand-printed cover by artist Mat Daly. It is also available in a cheaper, no frills edition.
48 pages
With Printed Cover:
Without Printed Cover ($10):
URBESQUE
Moshe Zvi Marvit
Twenty dollars.
Edition of 500
Urbesque is a collection of short (in the sense that most, though not all, of the pieces are shorter than forty pages) fiction (because they are untrue except, of course, for the parts that are). The characters who populate these stories do not travel to India or hang out with matadors. They do, however, go to job fairs, make furniture, leave their swords in the lockers at work, write letters to the objects that surround them and take pictures of it all, years after the fact, to remind them not to forget. If, one day, a copy of Urbesque should appear unannounced on your doorstep, looking a little worse for wear, with whiskey on its breath, invite it in. Make room for it on your couch or bookshelf. Or, better yet, read it.
With an introduction by Michael W. Grenke.
"...By the end of the book (if you can make it) you'll feel as if you've just read a textbook written by David Mamet while he was in a grouchy mood..."
—UR Chicago, June/ July 2007. Vol. 10, Issue 6
160 pages
GOD BLESS THE SQUIRREL CAGE
Nicholas Sarno III
Twenty dollars.
Edition of 500.
There comes a time in the lives of people of a certain disposition, usually from the ages of sixteen to twenty-three, when following any path other than that of an artist seems unthinkable. They read books with titles like "A Portrait of the Artist as a Young Man" and see something of themselves in their pages. They begin painting or writing poetry. They throw themselves into such a life with passion and fury that seems reserved for such an age and then, usually, they stop. Sometimes they decide to switch to a major with more earning potential. Sometimes they graduate and lose track of their friends. Sometimes they find jobs in galleries, or publishing houses that leave too little time for their own endeavors. Sometimes they're not good enough. Sometimes they grow up. And yet books wherein the protagonist overcomes all obstacles to become an artist, books where, in the final pages, one learns that the young man or woman picks up a pen and begins to write that very book, books with titles like "A Portrait of the Artist as a Young Man," continues to be written. The Germans call these books Künstlerroman. God Bless the Suirrel Cage is not one of those books. It is an antidote. It is the story of a person who tried but failed. But one whose failure bore as much, if not more, fruit than another’s success.
