"Disability Works offers a cultural history of disability, performance, and work in the modern United States"--

Carman is based on chronological iPhone notes that Ser Serpas wrote during her undergraduate studies, from July 2013 to July 2017.The title Carman not only evokes Carmen, Georges Bizet's famous opera of love and seduction; it is also the name of Serpas's freshman-year dormitory at Columbia, where she majored in the fine arts and urban studies.Originally from Los Angeles, she is now based in New York. The poems she wrote in her final year at Columbia led to the exhibition You were created to be so young (self-harm and exercise) in the summer of 2018 at Luma Westbau.Serpas's experience in community work and the fashion industry fed into the exploitation of her own and others' detritus. As Hannah Black notes in Becoming Trash, Serpa's poetry in Carman is a 'mythic account of her development as an artist.'Accompanies the exhibition 'Ser Serpas: You were created to be so young (self-harm and exercise)', 9th Jun - 2 Sep 2018, LUMA Westbau, Zürich.Co-published with Fredi Fischli.

Although we know him best as a visual artist and filmmaker, Andy Warhol was also a publisher. Distributing his own books and magazines, as well as contributing to those of others, Warhol found publishing to be one of his greatest pleasures, largely because of its cooperative and social nature. Journeying from the 1950s, when Warhol was starting to make his way through the New York advertising world, through the height of his career in the 1960s, to the last years of his life in the 1980s, Andy Warhol, Publisher unearths fresh archival material that reveals Warhol’s publications as complex projects involving a tantalizing cast of collaborators, shifting technologies, and a wide array of fervent readers. Lucy Mulroney shows that whether Warhol was creating children’s books, his infamous “boy book” for gay readers, writing works for established houses like Grove Press and Random House, helping found Interview magazine, or compiling a compendium of photography that he worked on to his death, he readily used the elements of publishing to further and disseminate his art. Warhol not only highlighted the impressive variety in our printed culture but also demonstrated how publishing can cement an artistic legacy.

Following the great artist book tradition of John Baldessari and Edward Ruscha, the Ullens Center for Contemporary Art has called on Matthew Monahan along with L.A. artists Kathryn Andrews, Aaron Curry, Alex Israel, Sterling Ruby, Ryan Trecartin and Kaari Upson to make individual artist books for 'The Los Angeles Project' in Bejing. Struck by the eerie similarities of the two giant megalopolises of Los Angeles and Beijing, Sterling Ruby takes the reader into his own journalistic vision - sourcing photographs of landscapes and interiors of Los Angeles and Beijing, both shot and found by the artist, each page is claustrophobically framed by collaged imagery of stalagmites and stalactites. The focal point where these two cities merge gives rise to a dystopic scene that feels like science fiction.

Both a book and a sculptural object, Absence is a memorial to the twin towers of the World Trade Center. Yoon, an architect and designer who is currently an Assistant Professor of Architecture at the Massachusetts Institute of Technology, chose not to produce a traditional design proposal for the World Trade Center Memorial Competition. Instead she created a non-architectural, non site-specific space of remembrance: a portable personal memorial in the form of book.At almost two pounds, Absence has a considerable physical presence, but it is in every way the ghost of a presence, and it is this ghostliness that gives it its particular emotional weight. A solid white block of thick stock cardboard pages, the books only "text" consists of one pinhole and two identical squares die-cut into each of its one-hundred-and-twenty pages one for each story of the towers including the antenna mast. These removed elements lead the reader floor by floor through the missing buildings towards the final page where the footprint of the entire site of the World Trade Center is die-cut into a delicate lattice of absent structures.

The first book to chart Scott Burton’s performance art and sculpture of the 1970s. Scott Burton (1939–89) created performance art and sculpture that drew on queer experience and the sexual cultures that flourished in New York City in the 1970s. David J. Getsy argues that Burton looked to body language and queer behavior in public space—most importantly, street cruising—as foundations for rethinking the audiences and possibilities of art. This first book on the artist examines Burton’s underacknowledged contributions to performance art and how he made queer life central in them. Extending his performances about cruising, sexual signaling, and power dynamics throughout the decade, Burton also came to create functional sculptures that covertly signaled queerness by hiding in plain sight as furniture waiting to be used. With research drawing from multiple archives and numerous interviews, Getsy charts Burton’s deep engagements with postminimalism, performance, feminism, behavioral psychology, design history, and queer culture. A restless and expansive artist, Burton transformed his commitment to gay liberation into a unique practice of performance, sculpture, and public art that aspired to be antielitist, embracing of differences, and open to all. Filled with stories of Burton’s life in New York’s art communities, Queer Behavior makes a case for Burton as one of the most significant out queer artists to emerge in the wake of the Stonewall uprising and offers rich accounts of queer art and performance art in the 1970s.