Media Burn—Ant Farm and the Making of an Image

Seeing <―> Making: Room for Thought both studies and presents the creative process of constructing ideas with images. By activating the techniques of montage, the book reveals a wide field of view and a space to engage new critical connection between a multiplicity of objects from the past and present. Realized through an intergenerational collaboration of three cultural producers committed to making theory visible, a transformative anthology of critical essays by Susan Buck-Morss anchors this kaleidoscopic project. Images and ideas sync with Buck-Morss’ perceptive texts on visual culture, history, politics, and aesthetics, fusing criticism with visual play and linking collective imagination and social action.

Building upon the methods and ways of seeing put forth by visual thinkers like Walter Benjamin and John Berger, designer Kevin McCaughey (Boot Boyz Biz), designer, editor, and publisher Adam Michaels (IN-FO.CO/Inventory Press), and renowned theorist Buck-Morss collectively assemble colliding material into new relation. What results is a (typo-) graphic articulation that thinks seriously about the stakes of ideation and reorients the space of the book in the service of a theory and philosophy that speaks the language of our image-based information age.

Hackers, scholars, artists and activists of all regions, races and sexual orientations consider how humans might reconstruct themselves by way of technology.

When learning about internet history, we are taught to focus on engineering, the military-industrial complex and the grandfathers who created the architecture and protocol, but the internet is not only a network of cables, servers and computers. It is an environment that shapes and is shaped by its inhabitants and their use.

The creation and use of the Cyberfeminism Index is a social and political act. It takes the name cyberfeminism as an umbrella, complicates it and pushes it into plain sight. Edited by designer, professor and researcher Mindy Seu (who began the project during a fellowship at the Harvard Law School's Berkman Klein Center for the Internet & Society, later presenting it at the New Museum), it includes more than 1,000 short entries of radical techno-critical activism in a variety of media, including excerpts from academic articles and scholarly texts; descriptions of hackerspaces, digital rights activist groups, bio-hacktivism; and depictions of feminist net art and new media art.

Contributors include: Skawennati, Charlotte Web, Melanie Hoff, Constanza Pina, Melissa Aguilar, Cornelia Sollfrank, Paola Ricaurte Quijano, Mary Maggic, Neema Githere, Helen Hester, Annie Goh, VNS Matrix, Klau Chinche / Klau Kinky and Irina Aristarkhova.

Clara Istlerová: A Life Among Letters is the first publication in the United States to delve into the design landscape of the former Czechoslovakia through the lens of Czech designer Clara Istlerová (born 1944). A trailblazer in her field, Istlerová was one of the few women in the male-dominated field of Czech typography. This publication introduces readers to Istlerová’s renowned book designs, particularly highlighting the analog processes she utilized to create one of the most influential books on Czech architecture, Švácha, Rostislav. From Modernity to Functionalism (Odeon, 1985).

The publication features an intimate interview with Istlerová conducted by editor Anežka Minaříková, accompanied by work from Istlerová’s personal archive alongside discussions detailing her creative process. Offering a vivid portrayal of an era where design was a tangible, labor-intensive endeavor carried out in close collaboration with typesetters and printers, the publication unveils the Czech design narrative of the twentieth century to English-speaking readers, highlighting Istlerová’s lasting impact and central role.

Design by Anežka Minaříková and Marek Nedelka

Surreal, psychedelic riffs on domestic objects from a trailblazing feminist artist. 

From her beginning in the mid-1960s through the early '70s, German artist Anna Oppermann (1940-1993) - best known for her encyclopedic, immersive installations - created an astonishing series of surreal, almost psychedelic drawings that quietly explode the private space of the home, and her experience within it. These early drawings contribute to a feminist reentering of spheres traditionally associated with women, casting everyday objects as symbolic, consequential protagonists: houseplants sprawl to take over the picture plane, windows and mirrors provide views into other worlds and tables display drawings that themselves open out into new domestic scenes. By placing her own body—her knees, arms, the back of her head—as reference points in the work, Oppermann emphasizes the gendered realms of the home and the relationships that we form to our private spaces.

This volume gathers these drawings and early installations in an English-language publication for the first time.

Published to accompany the artist’s first retrospective exhibition, Teddy Sandoval and the Butch Gardens School of Art examines the work of the inventive yet overlooked Teddy Sandoval, a central figure in Los Angeles’s queer and Chicanx artistic circles. Sandoval was known for producing subversive and playful artworks in a range of media that explored the codes of gender and sexuality, particularly conceptions of masculinity.

This publication surveys Sandoval’s work alongside other queer, Latinx, and Latin American artists whose practices profoundly resonate. This expansive catalogue features essays by C. Ondine Chavoya, David Evans Frantz, Raquel Gutiérrez, and Mari Rodríguez Binnie, as well as biographical entries on other artists featured in the exhibition, including Félix Ángel, Myrna Báez, Álvaro Barrios, Ester Hernández, Hudinilson Jr., Antonio Lopez, María Martínez-Cañas, Marisol, and Joey Terrill.

Design by Content Object
Co-published by Inventory Press, Williams College Museum of Art, Vincent Price Art Museum, and Independent Curators International

A portrait of the cohesive community of women artists in Frogtown, Los Angeles, including Ruby Neri, Hilary Pecis, Megan Reed, Lily Stockman, and Austyn Weiner.

The Glover Group: A Los Angeles Story narrates the journey of an extraordinary group of artists who have nurtured their unique artistic voices within the same studio complex in Frogtown, Los Angeles. The Glover Group includes Ruby Neri, Hilary Pecis, Megan Reed, Lily Stockman, and Austyn Weiner, a coincidental yet cohesive community of women artists sharing a unique bond through their interconnected workspace.

This catalog, designed to document their collaborative exhibition held at MASSIMODECARLO in Milan during July and August 2023, features interviews to the artists by Cecilia Alemani, Alison M. Gingeras, Justine Ludwig, Marta Papini, and Heidi Zuckerman, together with photographs by Tracy Nguyen.

Contributions by Ruby Neri & Alison M. Gingeras, Hilary Pecis & Cecilia Alemani, Megan Reed & Marta Papini, Lily Stockman & Heidi Zuckerman, Austyn Weiner & Justine Ludwig.

“Sketchbook 1-10” with Antoinette d’Ansembourg bundles a complete collection of pocket sketches created between 2020 and 2023, stretched across ten different notebooks. These sketches, despite their two-dimensionality, form the mainstay of her sculptural output, offering a glimpse into the intimate process behind her stately installations.

Book: 11.7 × 18 cm
Book and Glove: 13.5 × 31.5 cm

Presented in a monster glove

Three broken halves of one god walk a city that wants them dead
Their bodies speak in static hunger and rust
Something follows breathing through their mouths
Read it Bleed from it

In A Psalm for the Third Wind, a film script written from 3 perspectives, Damien Troadec is aiming to address in parallel narrative the struggle of having multiples inner voices and the danger of following their distinct desires. One question is raised without any light at the end of the tunnel, confronting the reader to a conflict : THE COMFORT OF MISERY OR THE PAIN OF CHANGE ?