What does it mean to publish today? In the face of a changing media landscape, institutional upheavals, and discursive shifts in the legal, artistic, and political fields, concepts of ownership, authorship, work, accessibility, and publicity are being renegotiated. The field of publishing not only stands at the intersection of these developments but is also introducing new ruptures. How the traditional publishing framework has been cast adrift, and which opportunities are surfacing in its stead, is discussed here by artists, publishers, and scholars through the examination of recent publishing concepts emerging from the experimental literature and art scene, where publishing is often part of an encompassing artistic practice. The number and diversity of projects among the artists, writers, and publishers concerned with these matters show that it is time to move the question of publishing from the margin to the center of aesthetic and academic discourse. Contributors Hannes Bajohr, Paul Benzon, K. Antranik Cassem, Bernhard Cella, Annette Gilbert, Hanna Kuusela, Antoine Lefebvre, Matt Longabucco, Alessandro Ludovico, Lucas W. Melkane, Anne Moeglin-Delcroix, Aur lie Noury, Valentina Parisi, Michalis Pichler, Anna-Sophie Springer, Alexander Starre, Nick Thurston, Rachel Valinsky, Eva Weinmayr, Vadim Zakharov

On the work of three contemporary artist's-book publishers who have developed fresh ways of broaching politics in publishing This book documents Publishing as Practice, a residency at Ulises--a curatorial platform based in Philadelphia--that explores publishing as an incubator for new forms of editorial, curatorial and artistic practice. Over the course of two years, three publishers activated Ulises as an exhibition space and public programming hub, engaging the public through workshops, discussions and projects. Residents included Hardworking Goodlooking, the publishing arm of Philippines-based, social-practice platform The Office of Culture and Design; Dominica, an imprint run by Martine Syms dedicated to exploring Blackness as a topic, reference, marker and audience in visual culture; and Bidoun, a non-profit organization focused on art and culture from the Middle East and its diasporas. The book features a preface by David Senior, an essay by Gee Wesley and Ulises Carrión's 1975 publishing manifesto "The New Art of Making Books," alongside documentation of the works produced.

A reprint of Bailey's classic first published by Harper and Row in 1970. Contains a new preface (and now on alkaline paper). Annotation copyrighted by Book News, Inc., Portland, OR

How artists' magazines, in all their ephemerality, materiality, and temporary intensity, challenged mainstream art criticism and the gallery system.

Visual artist' is a term with untold interpretations, nuances, variations and meanings. But how, as an artist (or designer, photographer, or other ?independent creator?), do you become who you are and who you would like to be?0What fundamental questions, characteristics, dilemmas, ambitions, restrictions and realities play a part? How, as an artist, can you guide your artistic practice, the main criterion being to answer the question: "where do I stand and what do I stand for?"0'Plan and Play, Play and Plan: Positioning by Artists' targets the artist, inviting him or her to reach considerations, often based on analytical models, that will help to determine his position.0The author knows from practical experience the complexity of the artist?s questions and dilemmas, the many areas in which the artist involved and how important self-reflection and self-determination are for artistic practice, without losing sight of the broader social context. He has scrutinized his considerations, assembled notes and pointers ? based on many interviews with a wide variety of artists, from beginners to old hands, from unknown to internationally celebrated ? assimilating them into an appealing book in which terminology, background, components and questions requiring reflection form a cohesive whole.

Practice' is one of the key words of contemporary art, used in contexts ranging from artists? descriptions of their practice to curatorial practice, from social practice to practice-based research. This is the first anthology to investigate what contemporary notions of practice mean for art, tracing their development and speculating on where this leads. Reframing the question of practice offers new ways of reading the history of art and of evaluating particular forms of practice-based art.