"Say for instance that I thought my life was worth describing every ugly detail of and that I was deluded enough to think my jerking off in my studio was something higher than what it is..." So begins Sean Landers' [sic], an artist's book that reproduces a single extended writing performance piece from the early 1990s, as it was written out by hand.

Since the early 1990s, Sean Landers' work has been one of the most fascinating and repeatedly irritating projects in contemporary art. The polar opposites of tormented self-doubt and endless self-aggrandizement run like a thread through the artist's practice along with a number of masks of failure used by the subject as a strategy to preserve himself from impending loser status.

For designers, writing and research skills are more necessary than ever before, from the basic business compositions to critical writing. In this competitive climate, designers are routinely called upon to make words about the images and designs they create for clients. Writing about design is not just "trade" writing, but should be accessible to everyone with an interest in design. This book is a complete, introductory guide to various forms of research and writing in design—and how they explain visuals and can be visualized. These pages address communication on various levels and to all audiences: - Designers to Designers - Designers to Clients - Designers to the Design-literate - Designers to the Design-agnostic Being able to express the issues and concerns of the design practice demands facts, data, and research. With Writing and Research for Graphic Designers, you’ll learn how to turn information into a valuable asset— one of the key talents of the design researcher.

In a tumultuous era of Atlantic revolutions, a remarkable group of African-born and African-descended individuals transformed themselves from slaves into active agents of their lives and times. Through prodigious archival research, Landers alters our vision of the breadth and extent of the Age of Revolution, and our understanding of its actors.

This publication accompanies parallel exhibitions at The Drawing Center, New York, and Drawing Room, London, that explore the relationship between linguistic communication and drawing in recent art. Throughout the twentieth century, and in particular since the 1960s, artists have mined language for the subject and matter of their art, incorporating the mode, format and meaning of text into their work. Together the two exhibitions present an international selection of artists spanning the 1960s to today, including, at The Drawing Center, Carl Andre, Pavel Büchler, Guy de Cointet, Mirtha Dermisache, Sean Landers, Allen Ruppersberg, Nina Papaconstantinou, Deb Sokolow and Molly Springfield; and at Drawing Room, Pavel Büchler, Johanna Calle, Annabel Daou, Matias Faldbakken, Karl Holmqvist, Bernardo Ortiz and Shahzia Sikander.

Text by Susan Hapgood and Susan Andersen. Foreword by Judith Richards.

Published to accompany exhibition at the Saatchi Gallery, London; 25/1/96 - 3/3/96 and 21/3 - 12/5/96.