Whether they're told with words or pictures, stories inspire and transport us and rev our imaginations.
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176 products

David Shrigley Sketchbook My Artwork Is Terrible
Regular price $16.00You can select your shipping preferences during checkout. We use UPS Ground or Next Day Air and USPS Priority Mail and Priority Mail Express. Orders generally ship out within 2 business days of the order being placed. You will receive an email with tracking information once your order is shipped.

Afro-Atlantic Histories
Regular price $65.00Named one of the best books of 2021 by Artforum
Afro-Atlantic Historiesbrings together a selection of more than 400 works and documents by more than 200 artists from the 16th to the 21st centuries that express and analyze the ebbs and flows between Africa, the Americas, the Caribbean and Europe. The book is motivated by the desire and need to draw parallels, frictions and dialogues around the visual cultures of Afro-Atlantic territories—their experiences, creations, worshiping and philosophy. The so-called Black Atlantic, to use the term coined by Paul Gilroy, is geography lacking precise borders, a fluid field where African experiences invade and occupy other nations, territories and cultures.
The plural and polyphonic quality of “histórias” is also of note; unlike the English “histories,” the word in Portuguese carries a double meaning that encompasses both fiction and nonfiction, personal, political, economic and cultural, as well as mythological narratives.
The book features more than 400 works from Africa, the Americas and the Caribbean, as well as Europe, from the 16th to the 21st century. These are organized in eight thematic groupings: Maps and Margins; Emancipations; Everyday Lives; Rites and Rhythms; Routes and Trances; Portraits; Afro Atlantic Modernisms; Resistances and Activism.
Artists include: Nina Chanel Abney, Emma Amos, Benny Andrews, Emanoel Araujo, Maria Auxiliadora, Romare Bearden, John Biggers, Paul Cézanne, Victoria Santa Cruz, Beauford Delaney, Aaron Douglas, Melvin Edwards, Ibrahim El-Salahi, Ben Enwonwu, Ellen Gallagher, Theodore Géricault, Barkley Hendricks, William Henry Jones, Loïs Mailou Jones, Titus Kaphar, Wifredo Lam, Norman Lewis, Ibrahim Mahama, Edna Manley, Archibald Motley, Abdias Nascimento, Gilberto de la Nuez, Toyin Ojih Odutola, Dalton Paula, Rosana Paulino, Howardena Pindell, Heitor dos Prazeres, Joshua Reynolds, Faith Ringgold, Gerard Sekoto, Alma Thomas, Hank Willis Thomas, Rubem Valentim, Kara Walker and Lynette Yiadom-Boakye.
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Black Imagination, by Natasha Marin, Hardcover
Regular price $22.00Proceeds from sale of this book have been donated to 826NYC who offer highly individualized creative writing instruction for over 4,000 young New Yorkers every year. Free programs throughout NYC empower young authors and develop crucial skills they need to thrive in the classroom and beyond.
“(D)on’t think for one minute that Black Imagination is easy. As you will read here, it is hard-earned and sometimes dangerous, but it’s necessary, and radical, to claim and work towards. Listening to my people in this book gave me so much life, and I’m pretty sure, dear reader, you’re in for the same.” —from the Foreword by Steven Dunn
What is your origin story?
How do you heal yourself?
Imagine a world where you are loved, safe, and valued.
“Witnessing is sacred work too. Seeing ourselves as whole and healthy is an act of pure rebellion in a world so titillated by our constant subjugation,” reflects viral curator Natasha Marin, on Black Imagination. This dynamic collection of Black voices works like an incantation of origin, healing, and imagination. Born from a series of conceptual art exhibitions, the perspectives gathered here are no where near monochromatic. “Craving nuance over stereotype, we sought out black children, black youth, LGBTQ+ black folks, unsheltered black folks, incarcerated black folks, neurodivergent black folks, as well as differently-abled black folks.” Each insists on their own variance and challenges every reader to witness for themselves that Black Lives (and Imaginations) Matter.
Cover art by Vanessa German.
Praise for Black Imagination
Recommended by Jason Reynolds on PBS News Hour
“Black Imagination reads like a survival guide with a sense of humor as deep as its sense of history, a literary oasis for black people fed up with the white gaze.”
—The Stranger
“Our bodies and actions are under external control, but the well-spring of rebellion is our own imagination. In Black Imagination, Natasha Marin shows us how to free our imagining — as a first step toward freeing ourselves.”
—Gloria Steinem
“Black Imagination is somehow as innovatively utopic as it is sincerely soulful. I’ve never felt the physical feeling of pages melting in my hands or chapters folding themselves into squadrons of black airplanes flying to freedom because I’ve never experienced an art object like Black Imagination. It is exquisite art in action.”
—Kiese Laymon, author of Heavy
“Have you ever read a book and realized you’re reading something you didn’t know you needed? This is not a book to simply read in total and digest—yes, do that—but it is also a work to return to in parts whenever necessary. It’s a book to ingest like medicine, because it is that. Lastly, it is a reminder that joy, too, is necessary and also a form of resistance.”
—Rion Amilcar Scott, author The World Doesn’t Require You
“In an age where spirituality has a price-tag and crystals, teas, and sage reign supreme, this book is a welcome rebuttal. Black Imagination shakes us out of our cultural trance and reminds us that so much of what we deem to be true is learned, and so much of what is actually true has to be remembered. With the storytelling talent of Grio tradition this book is required reading for the African diaspora.”
—Akilah Hughes, author of Obviously: Stories from My Timeline and host of Crooked Media’s What A Day
“If there is healing to be done it begins with a book like Black Imagination. It’s time to return to our beauty, step by step, word by word.”
—E. Ethelbert Miller, author of If God Invented Baseball
“Words create worlds. Black Imagination weaves lyrical narratives of being and becoming into a tapestry that shows us the beauty and power of unfettered imagination. From cosmic allegories on origin to piercing reckonings with race and family trauma, this book creates a doorway through which we can become reacquainted with our essential selves, and dream a whole new reality.”
—Keisha-Gaye Anderson, author of Everything Is Necessary
“(W)eaponize(s) a conceptual work of art in the asymmetrical war that is race in America… the words penetrate the defenses and break your heart.”
—Dr Jon Woodson, author of Summer Games and The Esoteric Mission of Zora Neale Hurston
“Moving, nuanced, and realer than real, Black Imagination is a necessary archive for these times. This unique project asks Black people to respond to three simple yet profound questions about one’s origin, self-healing rituals and alternate world visions in which Black people feel safe and are valued. The rawness of these pages, along with a versatility of voice and vision makes for an immersive read that galvanizes the imagination and massages the heart.”
—Samantha Thornhill author of A Card for My Father
“Authentic and empowered, wistful and insistent, the chorus of voices gathered in Black Imagination sings in defiance of patriarchal, heterosexist, white supremacist erasure. Drawing from the ether of pre-memory, the soulsoil of ancestral knowledge, and depths of individual and collective longing, this collection bears witness to the many ways Blackfolk have devised/unearthed to resist the chokeholds of violence on our subjectivity. A powerful testament to the richness and resilience of Black interiority, Black Imagination reminds each and every one of us of our truest story: ‘Despite and beyond time, I am.’”
—Lauren K. Alleyne, author of Honeyfish
“The agenda of Black Imagination is defiantly hopeful, and rests on a simple, but deeply complicated tenet of faith—faith in the proposition that empathy and hope are all functions of the imagination, or even the products of the imagination. To read Black Imagination is to witness writers wrestling with the abstraction of language to achieve the tangible and bodily effects of safety in a hostile world. Think Soul Train Line, think The Stroll, think the joyous striving with language for the possibilities of safety and hope.”
—Kwame Dawes, author of Nebraska
“Black Imagination reveals itself at times as a baptism, a confessional, a communion, and a coronation. This really isn’t a book. It’s more like a rosary or a mandala. Which is to say, this is a holy thing. Handle it with reverence. Read it out loud like a prayer.”
—Mike Gaston, CUT CEO
“What happens when the Black imagination thrives, unburdened by the white gaze? This collection reaches across time and generations, cities and continents, identities and experiences, to answer: We fill the unburdened space with rituals, remembrances, and discoveries, with our joys and vulnerabilities. The contributors’ poems, vignettes and smaller morsels of language come together to form a chorus, their voices recurring in multiple passages throughout the collection, to powerful effect. Black Imagination is a freedom song, deep-throated and resonant. The collection also answers the age-old Black question—Where your people from?—and builds on it: Where do you go to heal? And there is healing in the pages of this collection, medicine in the lines.”
—Deesha Philyaw, author of The Secret Lives of Church Ladies
“It’s fitting that this project began on the backend of Marin’s two reparations projects—the first for folks to reach out to each other; the second Marin’s healing of herself—cause this here is a catalogue and a map. One of the riffs begins “[l]egend says that I was born in the back seat of a Cadillac,” and you know Avery Young is telling you all that’s needed to know he survives. These pieces, together, are a kind of rent party, a reminder that Black folks can gather in a room and heal. “Coping is ever so awkward,” as Natasha herself says—but damn if it ain’t necessary. And damn if that coping itself, does turn into a beauty here, a Black imagination makes all of us better.”
—Reginald Dwayne Betts author of Bastards of the Reagan Era
“I challenge us to read this tremendous and tremendously important book, white friends. I challenge us to read it without inserting ourselves into the narrative and without rushing to interpret experiences that are not our own (a hint: none of these are). I challenge us to read it without revving into some look-at-me-ish version of empathy which, at best, only ever demonstrates the weakest, most facile form of allyship. And then I challenge us to read it again. And again. “We persist,” Natasha Marin writes. “We have persisted. We will continue to persist with or without acknowledgement.” Black Imagination does not need our justification. But it demands our attention. And it’s about damn time it gets it.”
—Jill Alexander Essbaum, author of Hausfrau
“Black Imagination required Natasha Marin to curate as a curate in the medieval sense—a spiritual guide that cares for souls. This assemblage—at once a book, an installation, a secret meeting and a waiting room—dares to sing an aria in white and violet with Brooks. We are challenged to move beyond the abject, beyond pure pessimism, on the wings of a different criticality—to walk with Hayden, with Douglass ‘visioning a world where none is lonely, none hunted, alien.’”
—Christian Campbell, author of Running the Dusk
“Like a goooood gris-gris sack comes this book. I looked inside and among the medicines found some warm balsam, some astringent drams in brilliant vials, even powerful seeds that tumbled me up into deep interiors. What Natasha Marin has curated via this anthology-as-curative she herself needed, is a multifarious and vibrant sociality of Black care; thus, a network entangling giving a damn with only one left to give. That generosity is Black Imagination’s principle ingredient pot-and-kettled into the poems, microessays, origin stories, spells, and rituals gathered for our collective dreaming and healing. How you feeling? That so? Black Imagination invites you to accept this good balm being given.”
—Douglas Kearney, author of Buck Studies
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Eucalyptus Incense Sticks
Regular price $19.00Incense are traditionally made with Charcoal dust with Litsea bark as an adhesive before being dipped into the desired fragrance.
These sticks, however, have been made with organically sourced Eucalyptus leaves instead of Charcoal, producing a mild and herbaceous scent that has a soothing earth undertone.
These sticks last twice as long compared to the average incense stick.
MORE INFO
16 pure incense sticks.
Burn time: 1h 30min (per stick)
Total Burn time: 24h
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Richard Phibbs: Rescue Me
Regular price $15.00Dog Adoption Portraits and Stories from New York City
forever homes.The best of his photographs are featured in this simple and moving album, along with the story of each dog on its journey from often-shocking circumstances of abandonment and rejection, through rescue and the joy experienced in the new homes these pictures helped them find. This heartwarming New York story will appeal to dog lovers all over the world. Phibbs’s introduction is a passionate appeal for everyone to rescue a dog. The book is perfectly sized and priced for an impulse buy. Royalties from its sale benefit the Humane Society of New York.
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Shantrelle P. Lewis: Dandy Lion: The Black Dandy and Street Style
Regular price $35.00You can select your shipping preferences during checkout. We use UPS Ground or Next Day Air and USPS Priority Mail and Priority Mail Express. Orders generally ship out within 2 business days of the order being placed. You will receive an email with tracking information once your order is shipped.














Vintage Naughty Nodders
Regular price $160.00Vintage Ash Trays made in Japan in the 40s and 50s for the American export market. These delightful ladies are a fun and whimsical piece of history. Porcelain.
Dimensions 5 in L x3.5 H x2in W
$160 each.
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Soul of a Nation
Regular price $40.00In the period of radical change that was 1963–83, young black artists at the beginning of their careers confronted difficult questions about art, politics and racial identity. How to make art that would stand as innovative, original, formally and materially complex, while also making work that reflected their concerns and experience as black Americans?
Soul of a Nation surveys this crucial period in American art history, bringing to light previously neglected histories of 20th-century black artists, including Sam Gilliam, Melvin Edwards, Jack Whitten, William T. Williams, Howardina Pindell, Romare Bearden, David Hammons, Barkley L. Hendricks, Senga Nengudi, Noah Purifoy, Faith Ringgold, Betye Saar, Charles White and Frank Bowling.
The book features substantial essays from Mark Godfrey and Zoe Whitley, writing on abstraction and figuration, respectively. It also explores the art-historical and social contexts with subjects ranging from black feminism, AfriCOBRA and other artist-run groups to the role of museums in the debates of the period and visual art’s relation to the Black Arts Movement. Over 170 artworks by these and many other artists of the era are illustrated in full color.
2017 marks the 50th anniversary of the first use of the term “black power” by student activist Stokely Carmichael; it will also be 50 years since the US Supreme Court overturned the prohibition of interracial marriage. At this turning point in the reassessment of African American art history, Soul of a Nation is a vital contribution to this timely subject.
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Songbook by Nick Hornby, Hardcover
Regular price $30.00Proceeds from sale of this book have been donated to 826NYC who offer highly individualized creative writing instruction for over 4,000 young New Yorkers every year. Free programs throughout NYC empower young authors and develop crucial skills they need to thrive in the classroom and beyond.
What will people think if you play Van Morrison at your funeral? When was the last time you listened to Pet Sounds? How does a mandolin solo illustrate or clarify the plight of Eskimos, anyway? In twenty-six song profiles that are hilarious, nostalgic, and deeply personal, one of our greatest music critics reminds us how much pop songs affect our lives. After all, as Hornby says, “There’s something in us that is beyond the reach of words… It’s the best part of us, probably, the richest and strangest part.”
At long last, this deluxe, limited-edition reprint of Hornby’s National Book Critic’s Circle Award–nominated book will reprise its original form: a square-shaped, intimate, Marcel Dzama–illustrated ode to the lasting joys of the fleeting art of pop music.
Praise for Songbook:
“A small, singular, delightful collection [about] the power of songs to bind people culturally and to reach deeply into the human spirit, bending the heart into new shapes with new potential.” —The New York Times Book Review
“When Hornby writes about his enthusiasms and how they intertwine with his life, he’s amusing and inspiring.” —Rolling Stone
“That whole subculture, all those mournful guys to whom the sound of record-store bin dividers clicking by is almost music enough, should love Songbook, yet so should anyone interested in great essays, or in the delicate art of being funny, or in how to write about one’s feelings in such a way that other people will actually care.” —The San Francisco Chronicle
“Delivered in a hugely enjoyable, invisible prose that does in words what Hornby’s tunesmiths do with sound. He writes good.” —Time Out London
“Quintessentially Hornby: an idiosyncratic and charming exploration of the meaning of music and how it changes as we grow up and grow old.”—Seattle Weekly
“A book about the joy of listening to great pop songs, about the elusive genius of a catchy chorus…what shines most is Hornby himself—his wry self-awareness, his disarming honesty. Effortlessly readable, every chapter reminds us how special an observer of human behavior Hornby is.” —HeatYou can select your shipping preferences during checkout. We use UPS Ground or Next Day Air and USPS Priority Mail and Priority Mail Express. Orders generally ship out within 2 business days of the order being placed. You will receive an email with tracking information once your order is shipped.

Chicken of the Sea, by Viet Thanh Nguyen and Ellison Nguyen, illustrated by Thi Bui and Hein Bui-Stafford
Regular price $19.00Proceeds from sale of this book have been donated to 826NYC who offer highly individualized creative writing instruction for over 4,000 young New Yorkers every year. Free programs throughout NYC empower young authors and develop crucial skills they need to thrive in the classroom and beyond.
A band of intrepid chickens leave behind the boredom of farm life, joining the crew of the pirate ship Pitiless to seek fortune and glory on the high seas. Led by a grizzled captain into the territory of the Dog Knights, they soon learn what it means to be courageous, merciful, and not seasick quite so much of the time.
A whimsical and unexpected adventure tale, Chicken of the Sea originated in the five-year-old mind of Ellison Nguyen, son of Pulitzer Prize-winning novelist Viet Thanh Nguyen; father and son committed the story to the page, then enlisted the artistic talents of Caldecott Honor winner Thi Bui and her thirteen-year-old son, Hien Bui-Stafford, to illustrate it. This unique collaboration between two generations of artists and storytellers invites you aboard for adventure, even if you’re chicken. Maybe especially if you’re chicken.
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Fine, Fine, Fine, Fine, Fine by Diane Williams, Hardcover
Regular price $20.00Not a single moment here is what you might expect. While there is immense pleasure to be found in Williams’s spot-on observations about how we behave in our highest and lowest moments, the heart of the drama beats in the language of American short fiction’s grand master, whose originality, precision, and power bring the familiar into startling and enchanted relief.
Check out an excerpt from Fine, Fine, Fine, Fine, Fine in Granta Magazine’s.
Read an interview with Diane Williams in the LA Review of Books.
Praise for Fine, Fine, Fine, Fine, Fine:
“In a story called “The Great Passion and Its Context,” one of Williams’ narrators stands on public transportation with an injured foot, anxiously echoing Markun: “What’s still to come?—a warm flat landscape?—a shallow swimming pool?—the complete ruin of her health?—her absolute devotion to anyone?” The only answer comes in the form of children singing a duet three rows ahead of her: “They offer their share of resistance to you name it!—in a remote and difficult key, and in poor taste artistically.” If you can hold onto some vestige of poignancy in the face of that ironic exclamation mark and deflating final clause, you’ve found your new favorite writer. Williams has been plumbing this territory for decades—she’s published eight books before this one—and her confidence with language is frankly unnerving. She makes it jump through hoops, and a reader had better be willing to follow.”
—The Chicago Tribune
“A taut collection of flash fictions that are often beautiful but impenetrable, structured like little riddles to unspool. While it is easy to compare Williams’s work to that of Lydia Davis, another expert writer of absurdist shorts, this collection stands in its own category as defiantly whimsical and weird… Williams creates stories that can be consumed in small bites. But she provides enough material in each to chew over for an entire meal.”
—The New York Times
“Her work is certainly odd, but it’s also poetic, passionate, and precisely crafted. Her strange voices linger in the mind. Part of the pleasure of reading Williams is you have no idea what’s coming next. Don’t fret. These marvelous stories do have a beginning, middle and an end—just not necessarily in that order.”
—The Los Angeles Times
“The whip-quick snapshots in Diane Williams’s Fine, Fine, Fine, Fine, Fine pack a sizable punch; to read is to tread unstable ground. Discomfitingly and devastatingly funny, Williams upends the mundane, the painful, and the unusual, resulting—much in the way an art teacher might ask her class to copy a photograph upside-down—in precision and clarity.”
—Elle
“I’m tempted to call Diane Williams’s stories ‘little gems,’ but really they have no equivalent among jewels I’m familiar with. I’ve never tried acupuncture, but I wonder if the experience is like reading her prose. It can’t be as much fun.”
—Vulture’s Best Books of 2016 (So Far)
“Surprising, funny, and evocative, the narratives in Williams’s newest collection mine small instances for larger meanings… Once again, Williams’s askew, precise prose demonstrates tremendous compassion and skill.”
—Publishers Weekly (starred review)
“[T]he hysterics in Fine, Fine, Fine, Fine, Fine have already fallen apart, and author Diane Williams catalogs their damage with avant-garde zeal… [Williams’s] characters speak with such astonishing curiosity and independence that they stake out a space for themselves—where, fully alive and alive in language, they finally become free.”
—O, The Oprah Magazine
“If you’re prone to judging books by their covers, Fine, Fine, Fine, Fine, Fine is likely as irresistible as what lies inside: Williams’ super-short stories are “folk tales that hammer like a nail gun.” Intrigued? … Well, you should be: Fine x 5 is out of McSweeney’s, which does everything just a liiiittle bit different in the best possible way.”
—The Week’s 28 Books to Read in 2016
“Williams’ stories are like summaries of “Leave It to Beaver” episodes written by an alien: that is to say, supercollided collages of domestic life that somehow become stranger the more you read them.”
—SFGate Recommended Reading
“[Williams’] details are always precise, and her masterful prose distills her fictional worlds down to bright, brief moments… we can feel ‘the mysteries of daily life’ pulsing through Williams’ keenly observed, contemplative tales.”
—San Francisco Chronicle
“Perhaps the finest collection of 40 stories since Donald Barthelme, Williams lights this one up with tremendous humor and wit.”
—Flavorwire
“A Diane Williams story resembles a story as it exists in the mind at the moment it reifies from abstract brain activity into concrete language. Her stories—events, ‘slices of life,’ human things—are free from the interlocutor of literary convention. They are just being, and they are about just being.”
—Electric Literature
“Centrifugal stories, supershort and superpithy, by avant-gardist Williams. In Williams’ stories, a non sequitur has the same weight as an ordinary logical proposition, as if to suggest that either we are very illogical creatures indeed or that no one is really listening to anyone else anyway… Charged with meaning, every word carrying more than its weight, this is a series of provocations inviting us to look at the world a little differently from before.”
—Kirkus
“…the best of the [flash fiction] bunch, in my estimation, is Diane Williams…the ways in which these stories, rarely longer than two pages, upend the alleged normalcy of the bourgeoisie is particularly sharp. While not exactly a work of parody, a sly sense of humour ripples throughout the book, and, like any good joke, many of these pieces conclude with unexpected twists of language and imagery.”
—The Globe and Mail
“These intensely taut, fraught little tales [are] refreshing. They are surreal, but not Kafkaesque, or even Murakami-like. People do not perform impossible activities, experience bizarre events or even say absurd things, so much as they inhabit little worlds of highly condensed experience… They pace through plots like expertly crafted androids plagued by software glitches.”
—Las Vegas Weekly
“Nobody comes close to the American short story writer Diane Williams, perhaps because they’re too scared. Her gifts are curious and disturbing, yet paraded with exquisite calm. Her eighth collection in nearly three decades, Fine, Fine, Fine, Fine, Fine, arrived this month to prove that the uncanny is alive and well and living in her head… Her stories climb inside your mind and ask, in the words of one narrator, ‘Whose house is this?’”
—Frieze
“Williams’s exquisitely deadpan method can result in a story that evidently means something devastating but is so obliquely sketched that the moral is left tantalisingly out of reach.”
—The Guardian
“Her stories may be short, but their mysterious centers are nearly unreachable—and reaching them is not always part of the exercise. As Williams once said,“How unlifelike to understand perfectly.” Instead of reinforcing normal human habits of perception, her fiction exists to subvert them.”
—Numéro Cinq
“Williams renders every single word like a prism of implication, and she stretches the space between sentences as wide as chapter breaks, while the sentences themselves somehow read like stand-alone stories. The density of her writing warrants a closer reading than most fiction because it also reads like superb poetry, just casual and fluid and lilting between verse and improvised speech.”
—Zyzzyva
“The death of metaphors, the pruning or framing of ridiculous language: much of this marks the fiction of Diane Williams, one of our most persistent side-eyers of realism over the last twenty-five years. This [is] to say that where Balzac or Dickens—those paradigmatic authors of 21st century TV realism—go deep, Williams instead lingers on surfaces. Where they work to build houses for the reader to enter into and reside in, Williams works alongside them, constructing an edifice that estranges the neighborhood, a home that only looks familiar insofar as it has one window and a doorknob… This also proves why Jonathan Franzen, the godhead of televisual prose, describes Williams’ fiction like this: ‘Her fiction makes very familiar things very, very weird.’ He can’t stop himself from transcribing her work into comfortable, realist terms, but when he can’t pay the word ‘weird’ a high enough wage, he has to bring in ‘very’ twice to finish the job.”
—Flavorwire
“Williams’s short stories operate according to the principles of Viktor Shklovsky’s ostranenie: making strange in order to reveal the ordinary anew. They are dense and dazzling oddities with an ear for patois and steeped deeply in the uncanny. Darkness and desire and despair and longing and schadenfreude and judgment roil just below the surface of seemingly pleasant exchanges, and, in their telling, subvert the reader’s expectations of just how a story unfolds.”
—The Millions
“To say that Williams is a poet who happens to write prose won’t quite do. Although there are affinities with postwar American poetry, Williams is working consciously… against the grain of the conventions of fiction. Her stories tend to veer away from any expectations put forward in the first few lines. There are apparent disjunctions, jarring juxtapositions, and seeming non sequiturs. Language often seems to be calling attention to itself and away from the narrative flow. But these turns often resolve into texts with their own sort of coherence—of a sort that’s neither vacuum-sealed nor merely morally ambiguous in the ways we’ve been trained to read fiction. No epiphanies or plots, but vectors of life.”
—Vulture
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Diane Arbus: A box of ten photographs
Regular price $80.00Acquired by the Smithsonian American Art Museum, Washington, DC, in 1986—and the only one of the four completed and sold by Arbus that is publicly held—that portfolio is the subject of an exhibition on view at the museum from April through September 2018. This exceptional book replicates the nature of Diane Arbus's original and now legendary object. Smithsonian curator John P. Jacob, who has unearthed a trove of new information in preparing the book and exhibition, weaves a fascinating tale of the creation, production, and continuing repercussions of this seminal work.
Published by Aperture in association with the Smithsonian American Art Museum, Washington, D.C.
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New York Portrait of a City
Regular price $75.00Hardcover, 9.8” x 13.4” (9.24lbs; 560 pages)
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William Eggleston's Guide
Regular price $45.00William Eggleston's Guide was the first one-man show of color photographs ever presented at The Museum of Modern Art, New York, and the Museum's first publication of color photography. The reception was divided and passionate. The book and show unabashedly forced the art world to deal with color photography, a medium scarcely taken seriously at the time, and with the vernacular content of a body of photographs that could have been but definitely weren't some average American's Instamatic pictures from the family album. These photographs heralded a new mastery of the use of color as an integral element of photographic composition. Bound in a textured cover inset with a photograph of a tricycle and stamped with yearbook-style gold lettering, the Guide contained 48 images edited down from 375 shot between 1969 and 1971 and displayed a deceptively casual, actually super-refined look at the surrounding world. Here are people, landscapes and odd little moments in and around Eggleston's hometown of Memphis--an anonymous woman in a loudly patterned dress and cat's eye glasses sitting, left leg slightly raised, on an equally loud outdoor sofa; a coal-fired barbecue shooting up flames, framed by a shiny silver tricycle, the curves of a gleaming black car fender, and someone's torso; a tiny, gray-haired lady in a faded, flowered housecoat, standing expectant, and dwarfed in the huge dark doorway of a mint-green room whose only visible furniture is a shaded lamp on an end table. For this edition of William Eggleston's Guide, The Museum of Modern Art has made new color separations from the original 35 mm slides, producing a facsimile edition in which the color will be freshly responsive to the photographer's intentions.
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We Go to the Gallery
Regular price $14.95Have you taken children to a gallery recently? Did you struggle to explain the work to them in plain, simple English? With this new Dung Beetle book by artist Miriam Elia--a tribute to and a parody of the much-loved British Ladybird early learning children's books of the 1960s--anyone can learn about contemporary art and understand many of its key themes. Join John and Susan on their exciting journey through the art exhibition, where, with Mummy's help, they will discover the real meaning of all the contemporary artworks, from empty rooms to vagina paintings or giant inflatable dogs.
The 2014 limited edition of We Go to the Gallery was threatened with a lawsuit by Penguin UK (owners of the Ladybird imprint), which was withdrawn following a recent change in UK copyright law allowing for parody and satire.
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My Ramones: Photographs by Danny Fields
Regular price $39.95Danny Fields first saw the Ramones play at CBGBs in New York in 1974, and instantly offered to manage them, also setting them up with a record deal. Originally published in a rare limited edition, My Ramones features more than 200 photographs from Danny’s personal collection of one of the most loved and well-known bands from the last four decades.
Danny managed the band from the ground up, accompanying them across Europe and America, while also photographing them at work with fans and during more informal moments. Taken between 1975 and 1977, Field’s photographs offer a rare insight into the lives of the band on tour, backstage and recording their first album. The images are further brought alive by his accompanying commentary and memories and recollections from Michael Stipe, Seymour Stein and David Johansen. This is a unique and special volume of a mythical time.
A legendary manager, publicist, journalist and label exec, Danny Fields (born 1941) was at the heart of every significant movement in rock music for two decades and was present for for the birth of punk in both America and the UK. He was a significant player in launching the careers of the Doors, the Ramones, the MC5, the Stooges and others, and was the ultimate scenester of the ‘60s and ‘70s, hanging out with Warhol, Nico, Linda McCartney, Edie Sedgwick, Alice Cooper and Lou Reed. In a recent documentary on his life, Danny Says, Alice Cooper remarked that he “seemed to be at the pulse of the underground, “ and Iggy Pop observed that “Danny’s a connector, he’s a fuel line, a place where things are liable to erupt.”
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Marilyn Minter: All Wet
Regular price $29.95American visual artist Marilyn Minter (born 1948) has long cultivated a space between the classical and the commercial for her photorealistic paintings and visceral photographs. Minter’s art is characterized by an emphasis on natural textures in all of their extremes—whether that of the turquoise eyeshadow on a young woman’s face or the glittery grit on the underside of a high-heeled shoe. This monograph dedicated to her recent works presents her 2009 film Green Pink Caviar and a dozen monumental paintings as well as the processes behind such works.
In her most recent painting series, Minter is inspired by classical representations of the female bather as an artistic subject from ancient Greece to early Impressionism. She offers a contemporary version of this figure: her female subjects relax and wash themselves in modern showers, their faces and bodies partially obscured by a film of condensation on the glass separating them from the viewer. In some images the women appear as a mere blur behind the glass; in others, the rivulets of water that course down the glass plane reveal enough to identify a face or body part. The effect is a sensuousness that defies the male voyeuristic gaze seen throughout art history.
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Tattoos in Japanese Prints
Regular price $24.95Many tattoo connoisseurs consider the Japanese tradition to be the finest in the world for its detail, complexity and compositional skill. Its style and subject matter are drawn from the visual treasure trove of Japanese popular culture, in particular the color woodblock prints of the early 19th century known as ukiyo-e.
This book tells the fascinating story of how ukiyo-e first inspired tattoo artists as the pictorial tradition of tattooing in Japan was just beginning. It explores the Japanese tattoo’s evolving meanings, from symbol of devotion to punishment and even to crime, and reveals the tales behind specific motifs. With lush, colorful images of flowers blooming on the arm of a thief, sea monsters coiling across the back of a hero and legendary warriors battling on the chests of actors, the tattoos in these prints can offer the same vivid inspiration today as they did 200 years ago.
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Goin' Home with the Rolling Stones '66: Photographs by Gered Mankowitz
Regular price $29.95By the start of 1966, the Rolling Stones’ position as rock gods was established. They were making serious money and splashing out on new homes and cars. Their official photographer and friend, Gered Mankowitz, was invited to shoot an “at home” session with each member of the band. “They hated the idea of unknown photographers visiting their private sanctuaries … If I did it then the press office would have a large selection of this type of image and could fulfil any magazine request without having to bother the band.”
Mankowitz kept these photographs in supermarket carrier bags stashed under his desk for several years, “getting in my way and frequently wondering why I continued to hold on to them.” This is the first time these sessions have been collated and published. The book includes both iconic and unseen photographs: Mick in a kipper tie turning on his new television and posing outside with a new Aston Martin; Keith, Lord of the Manor-style, with his blue Bentley and antique sword at his East Sussex home; Charlie grinning next to lingerie drying in the garden; Brian in obligatory silk shirt in front of a handpainted mural; Bill in the kitchen with his dog.
Goin’ Home with the Rolling Stones ’66 is a beguiling collection of images, shot with incredible skill, that offers that rare thing in Stones photography—a fresh perspective. It features an introduction by Mankowitz and a foreword from the Rolling Stones’ legendary manager, Andrew Loog Oldham.
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Bauhaus Postcards
Regular price $19.00In 1923, Bauhaus founder Walter Gropius commissioned 20 postcards from artists such as Paul Klee and Wassily Kandinsky to use as promotional flyers for the school’s first exhibition. Issued here for the first time in their original format, these rare and priceless postcards perfectly express the spirit of the early Bauhaus.
Featuring artwork digitized using state-of-the-art capture technology, and printed stochastically at 100 percent of the original size, with space on the back for messages, each postcard is a miniature piece of art. From the expressionism of Klee and Kandinsky to the modernism of Herbert Bayer and László Moholy-Nagy, Bauhaus Postcards allows readers to send (or keep!) a precious piece of design history.
Artists include: Rudolf Baschant, Herbert Bayer, Lyonel Feininger, Paul Häberer, Dörte Helm, Ludwig Hirschfeld-Mack, Wassily Kandinsky, Paul Klee, Gerhard Marcks, László Moholy-Nagy, Farkas Molnár, Oskar Schlemmer, Kurt Schmidt and Georg Teltscher.
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Agnes Martin
Regular price $55.00This groundbreaking survey provides an in-depth account of Martin's artistic career, from lesser-known early experimental works through her striped and gridded grey paintings and use of color in various formats, to a group of her final pieces that reintroduce bold forms. A selection of drawings and watercolors and Martin's own writing are also included.
Edited by the exhibitions's co-curators Frances Morris and Tiffany Bell, and with essays by leading scholars that give a context for Martin's work—her life, relationship with other artists, the influence of South-Asian philosophy—alongside focused shorter pieces on particular paintings, this beautifully designed volume is the definitive publication on her oeuvre. Frances Morris places Martin's work in the art historical context of the time; art historian Richard Tobin analyzes Martin’s painting "The Islands"; conservator Rachel Barker offers the reader a close viewing of "Morning"; curator Lena Fritsch provides a visual biography by comparing photographic portraits of Martin from different periods; and art historian Jacquelynn Baas delves into the spiritual and philosophical beliefs so present in Martin's art, including Platonism, Christian mysticism, Zen Buddhism and Taoism.
Agnes Martin was born in Maklin, Saskatchewan, Canada, in 1912, and moved to the US in 1932, studying at universities in Oregon, California, New Mexico and New York. She painted still lifes and portraits until the early 1950s, when she developed an abstract biomorphic style influenced by Abstract Expressionism. Her first one-woman exhibition was held at the Betty Parsons Gallery, New York, in 1958. Partly through close friendships with artists such as Ellsworth Kelly and Ad Reinhardt, Martin began to experiment with symmetrical compositions of rectangles or circles within a square, then from around 1960–61 to work with grids of delicate horizontal and vertical lines. She left New York in 1967, shortly after the death of Reinhardt, and moved to New Mexico, where she lived until her death in 2004.
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Yo! The Early Days of Hip Hop 1982Ð84
Regular price $50.00This book features more than 150 rarely seen images documenting the rise of hip hop in the early 1980s, taken by French photographer Sophie Bramly. Bramly lived in New York during this period and became firmly embedded in the emergent scene. The book features many stunning, intimate images of a star-studded roll call of legendary hip hop figures, all of whom were only just getting known or in their ascendency. These include Kool Herc, Afrika Bambaataa, Grandmixer DST, Jazzy Jay, Red Alert, Grandmaster Melle Mel, Kurtis Blow, Lisa Lee, the Fat Boys, Run-DMC, Beastie Boys and many more.
Bramly knew that hip hop was becoming a cultural force rather than just a musical fashion, and spent many hours photographing the four essential elements of this new world: the emcees, the deejays, the graffiti artists and the break dancers. Here you will see legendary graffiti artists captured at work and play, such as Keith Haring, Dondi, Futura, Phase One, Zephyr and Lady Pink, and break dancers including members of Magnificent Force, Dynamic Breakers and the Rock Steady Crew.
Bramly’s photographs also chronicle the desolate cityscapes from which hip hop emerged; the energy of the fans who first embraced hip hop; and the crucial players behind the scenes (Bill Laswell, Bernard Zekri, Rick Rubin, Fun Gallery co-owner Patti Astor).
Finally, this book also includes a bonus section documenting the rise of hip hop in Europe. Bramly returned to France in 1984 to find herself once again at the center of a new cultural phenomenon, helping bring the first US hip hop artists to Europe, including Fab Five Freddy, Futura 2000, Rocksteady Crew and many more.
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