Held by Hands: K-pop and the Social Potencial of Fandom

Everyone is layered is a scrapbook zine and a collection of poems made of the do’s and don’ts sections of a fashion magazine.

Layering is a great way to play with cowgirls-gone-wild.

They're perky, edgy pretty with a tank peeking out under a sense of humour

their thongs hanging out

after a few hours something

just feel silly floaty, jus-past-your-waist

shapes are miserable,

shapeless ones hourglassy.

WHERE’S HER BUTT?

Curator, writer and dealer Seth Siegelaub (1941–2013) is legendary for his promotion of Conceptual art in New York in the 1960s and ‘70s.

Acknowledging the unusual scope and essentially unclassifiable nature of his manifold interests and activities, this volume shows how Siegelaub’s projects and collections are underpinned by a deeper concern with printed matter and lists as ways of disseminating ideas. The book’s chapters explore the various facets of and connections in Siegelaub’s work, from his groundbreaking projects with Conceptual artists and his research and publications on mass media and communications theories to his interest in handwoven textiles and non-Western fabrics. It also highlights his collecting activity, which culminates in a unique ensemble of books on the social history of textiles and a textile collection comprising over 750 items from around the world. The survey also reflects on current practices through contributions by contemporary artists, such as Mario Garcia Torres and writer Alan Page, who co-created a new work inspired by Siegelaub’s bibliographic project on time and causality.

With essays by art historians and curators, a previously unpublished conversation between Siegelaub and artist Robert Horvit and an annotated chronology, this comprehensive survey pays homage to one of the most distinctive characters in 20th-century exhibition-making.

Undrowned is a book-length meditation for social movements and our whole species based on the subversive and transformative guidance of marine mammals. Our aquatic cousins are queer, fierce, protective of each other, complex, shaped by conflict, and struggling to survive the extractive and militarized conditions our species has imposed on the ocean. Gumbs employs a brilliant mix of poetic sensibility and naturalist observation to show what they might teach us, producing not a specific agenda but an unfolding space for wondering and questioning. From the relationship between the endangered North Atlantic Right Whale and Gumbs's Shinnecock and enslaved ancestors to the ways echolocation changes our understandings of "vision" and visionary action, this is a masterful use of metaphor and natural models in the service of social justice.

With Foreword by adrienne maree brown

Alexis Pauline Gumbs is a poet, independent scholar, and activist. She is the author of Spill: Scenes of Black Feminist Fugitivity, M Archive: After the End of the World, and Dub: Finding Ceremony; coeditor of Revolutionary Mothering: Love on the Front Lines; and the founder of Brilliance Remastered, an online network and series of retreats and online intensives serving community accountable intellectuals and artists.

Shulamith Firestone was twenty-five years old when she published The Dialectic of Sex, her classic and groundbreaking manifesto of radical feminism, in 1970. Disillusioned and burned out by the fragmented infighting within the New York City radical feminist groups she’d helped to found, when her book hit the bestseller lists, Firestone decided against pursuing a career as a “professional feminist.” Instead, she returned to making visual art, the profession that she’d trained for. She wouldn’t publish anything again until Airless Spaces, in 1998.

Long before her first hospitalization for paranoid schizophrenia in 1987, Firestone had fallen off the grid and into precarity and poverty. For the next decade, she would move in and out of public psychiatric wards and institutions. Conceived as a series of vignettes about institutions and identity, Airless Spaces is a subtle and deeply literary work. Embedded as a participant-observer, Firestone moves beyond the spectacular and frightening surfaces of institutional life to record individual lives and acts of cruelty and kindness. The existence that she depicts is a microcosm of the world beyond.

After they raised her dose to 42 mg. of Trilafon, Lucy very nearly fainted. She felt a rush of bad sensation comparable to her mental telepathy when her grandmother died. ... But there was a good aspect to fainting too. As she was about to lose consciousness, she felt an overwhelming relief. The black velvety edges of the swoon. If only she could faint all the way, black out, and never wake up again ...

Introduction by Chris Kraus
Afterword by Susan Faludi

Before making his first films in the 1950s, Chris Marker was a regular contributor to the Paris-based magazine Esprit from 1946 to 1952. Unbound by genre or form, Marker's pieces range from short stories, essays, poems, and reviews to fabricated reportage and invented news affairs, all gemmed with the hallmarks of his style: a blurring of reality and imagination, a wry sense of humor, a sustained political engagement, and, of course, a limitless curiosity for animal life.

Eternal current events marks the first time these exemplary works are available in English, published in an adapted facsimile of the original periodical. In these short selections, what one encounters is less a past life before his turn toward cinema than a preamble to his celebrated body of work. Moving images did not replace Marker’s production as a writer but were incorporated into it. Before the “imaginary films” there were “imaginary current events”; before the travels through time in La Jetée there was a bulletin rethinking the psychogeography of the around-the-world trip; and before the musings on a Japanese temple consecrated to cats in Sans Soleil, there was a summary report on the theological implications of the 1952 Parisian Cat Fair. Marker did not just begin his career as a writer, he remained one throughout his life.

Through creative nonfiction, poetry, and the printed image, the publication considers the playful and purposeful self-actualization of a bicultural queer identity while navigating grief as a landscape to address themes of (be)longing, futurity, and place. Alongside a collection of their works and research, Abigail Lucien weaves written and visual offerings by fellow Caribbean and queer artists, including works by Lukaza Branfman-Verissimo, Justin Chance, Cielo Felix-Hernandez, Sucking Salt, and Tamara Santibañez, to create an expanded context for their work rooted in friendship and radical love.

Abigail Lucien (b.1992) is a Haitian-American interdisciplinary artist, educator, auntie, lover, and friend. Working in sculpture, literature, and time-based media, Lucien’s practice addresses themes of (be)longing, futurity, myth, and place by considering our relationship to inherited colonial structures and systems of belief/care. Past exhibitions include SculptureCenter (NY), MoMA PS1 (NY), Deli Gallery (NY), MAC Panamá (Panamá), Frost Art Museum (Miami, FL), Atlanta Contemporary (Atlanta, GA), UICA (Grand Rapids, MI), and The Fabric Workshop and Museum (Philadelphia, PA). Residencies include Amant Studio & Research Residency (NY), Skowhegan School of Painting & Sculpture (Madison, ME), the Eugeniusz Geppert Academy of Fine Arts (Wrocław, Poland), The Luminary (St. Louis, MO), Santa Fe Art Institute (Santa Fe, NM), ACRE (Steuben, WI), and Ox-Bow School of Art & Artist Residency (Saugatuck, MI).

Lucien has taught as a full-time faculty member and professor in the Department of Sculpture & Extended Media at Virginia Commonwealth University and the Interdisciplinary Sculpture Department at the Maryland Institute College of Art. In the fall of 2023, they will join the Department of Art and Art History as an Assistant Professor of Sculpture at Hunter College in NYC. Deli Gallery represents Abigail Lucien.