{"title":"Books \u0026 Magazines: Magazines","description":"","products":[{"product_id":"stu-mead-frank-gaard-the-immortal-man-bag-journal-of-art","title":"Stu Mead \u0026 Frank Gaard: The Immortal Man Bag Journal of Art","description":"\u003cp\u003eMan Bag grew out of the Artpolicecomics magazine project that had been publishing out of the community of the Minneapolis Institute of Art, which fell victim in the late 1980s to the culture-wars climate of censorship.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eIn response, two of the protagonists of \u003cem\u003eArtpolicecomics\u003c\/em\u003e, Stu Mead (born 1955) and Frank Gaard (born 1944), got together on a new zine, this time deliberately thumbing their noses at political correctness and decency, fixating on “sick sex and decadence” in an underground “men’s magazine focused on deviated sexuality,” as Gaard puts it. Stu Mead \u0026amp; Frank Gaard: The Immortal Man Bag Journal of Art collects all printed editions of the zine, along with Man Bag No. 6, released for the first time. In his introduction, Gaard offers an unvarnished, conversational, infectious history of Man Bag, supplemented with extracts from Stu Mead’s diary.\u003c\/p\u003e","brand":"Idea House 3","offers":[{"title":"Default Title","offer_id":46977502249255,"sku":null,"price":45.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0837\/0189\/1367\/products\/image_ada6a4f7-7da4-436c-a145-8a631e653514.jpg?v=1699206225"},{"product_id":"parkett-no-98-ed-atkins-theaster-gates-lee-kitt-mika-rottenberg","title":"Parkett No. 98: Ed Atkins, Theaster Gates, Lee Kitt, Mika Rottenberg","description":"\u003cp\u003eEdited by Nikki Columbus.\u003c\/p\u003e\n\u003cp\u003eIssues of materiality, embodiment, and subjectivity are explored in this volume of Parkett. Our four artist-collaborators tackle the vast questions of who we are as individuals, how we interact with others, and what we create with our labor.\u003cbr\u003e\u003cbr\u003eThe videos of Ed Atkins feature solitary avatars whose prolix and euphuistic monologues—written and voiced by the artist—plumb the sorrily sentimental and the sordidly somatic. Always white and male, these hyper-real, high-definition, digitally animated talking heads seem to be suffering, or are “perhaps just insufferable” (Leslie Jamison).\u003cbr\u003e\u003cbr\u003eTheaster Gates’s practice spans sculpture and ceramics, architecture and urban planning, operating within a “circular economy” that connects “underserved black communities on the South Side of Chicago with the institutional art world” (Andrew Herscher). Materials from disused buildings are transformed into gallery-ready art objects, the sales of which fund the structures’ renovation and repurposing as neighborhood archives and meeting spaces.\u003cbr\u003e\u003cbr\u003eLong concerned with the privatization of public space in Hong Kong, Lee Kit has sought both to occupy and to withdraw, alternating between interaction and interiority. He salvages the imprints of our bodies—stains, shadows, scrawled words—with simple materials like cotton or cardboard, creating works that overlap multiple genres, at once domestic still lifes and landscapes, self-portraits and history paintings (Doryun Chong).\u003cbr\u003e\u003cbr\u003eFinally, human traces are packaged as commercial products in Mika Rottenberg’s colorfully abject allegories of global capitalism. Splicing together fictional scenarios performed by actors and documentary footage of factory workers, her videos depict elaborate assembly lines of women interlinked across time and space. The resulting works are “more realistic than most Realism” as they lay bare the “strange imperatives imposed on life and labor by the exigencies of universal commodification” (Jonathan Beller).\u003cbr\u003e\u003cbr\u003eInspired by museum objects and displays, the Insert by Iman Issa offers a photographic collection imagining the various forms that materials can take.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Idea House 3","offers":[{"title":"Default Title","offer_id":46977503199527,"sku":"28708663","price":45.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0837\/0189\/1367\/files\/Screenshot2023-11-05at12.16.27PM.png?v=1699208206"},{"product_id":"the-paris-review-no-245-fall-2023","title":"The Paris Review No. 245 Fall 2023","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003eRobert Glück on the Art of Fiction: “When people would ask me—and sometimes they did—to write about them, I’d reply, ‘First, break my heart.’”\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eLynn Nottage on the Art of Theater: “I embrace the fact that I write plays that are popular. 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It is the perfect time to shed even more attention on our community now that all eyes are looking and much more open to see what we are showing.' -Luis Venegas\u003cbr\u003e\u003cbr\u003eBryce Anderson\u003cbr\u003eDavid Armstrong\u003cbr\u003eDon Bachardy\u003cbr\u003eMichael Bailey-Gates\u003cbr\u003eLouie Banks\u003cbr\u003eBill Bernstein\u003cbr\u003eBiel Capllonch\u003cbr\u003eLisetta Carmi\u003cbr\u003eLia Clay\u003cbr\u003eFrank Crivelli\u003cbr\u003eApril Dawn Alison\u003cbr\u003eSawyer Devuyst\u003cbr\u003eIsaac Flores\u003cbr\u003eElizabeth G Brooke\u003cbr\u003eNash Glynn\u003cbr\u003eNan Goldin\u003cbr\u003eMaria Jose Govea\u003cbr\u003eBob Gruen\u003cbr\u003eFayette Hauser\u003cbr\u003ePeter Hujar\u003cbr\u003eBryan Huynh\u003cbr\u003eDoug Inglish\u003cbr\u003eBarry Kay\u003cbr\u003eMarcelo Krasilcic\u003cbr\u003eGilles Larrain\u003cbr\u003eMarcus Leatherdale\u003cbr\u003eAntonio López\u003cbr\u003eChristopher Makos\u003cbr\u003eLeon Mark\u003cbr\u003eMat+Kat\u003cbr\u003eVali Myers\u003cbr\u003eKatsu Naito\u003cbr\u003eByron Newman\u003cbr\u003eHasse Persson\u003cbr\u003eJack Pierson\u003cbr\u003eFrank Quitely\u003cbr\u003eFrankie Rice\u003cbr\u003eJohnny Rozsa\u003cbr\u003eFlame Schon\u003cbr\u003eRichie Shazam\u003cbr\u003eEttore Sottsass\u003cbr\u003eHugh Steers\u003cbr\u003eAlex Sturrock\u003cbr\u003eSunny Suits\u003cbr\u003eTabboo!\u003cbr\u003eThibault-Théodore\u003cbr\u003eCaroline Thomson\u003cbr\u003eAndrea Vecchiato\u003cbr\u003eLuis Venegas\u003cbr\u003eDiego Villarreal\u003cbr\u003eTheo Westenberger\u003cbr\u003eJimmy Wright\u003c\/p\u003e","brand":"Idea House 3","offers":[{"title":"Default Title","offer_id":47081016000807,"sku":null,"price":55.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0837\/0189\/1367\/files\/71hvj-lg6TS._AC_UF1000_1000_QL80.jpg?v=1699417117"},{"product_id":"takuro-kuwata-day","title":"Takuro Kuwata - Day","description":"\u003cp\u003eTakuro Kuwata is a radical potter who nevertheless describes his work as firmly grounded within the traditions of ceramics. 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In our recurring feature ‘The Protagonist of the Erotic,’ writer Elianna Kan whirlwinds us through the oeuvre of iconic filmmaker Alejandro Jodorowsky. In this grotesque and bodily carnival, we are confronted with an unwavering lust for life. And we explore a different, steamy kind of lust in our eight new blazingly erotic short stories.\u003cbr\u003e\u003cbr\u003eArchitecture editor Nick Axel hears from Markus Bader of Raumlabor, a group building relations just as much as structures, creating spaces where collective imagining can thrive. We follow curator Christina Li through the humid, salty and neon-lit streets of Hong Kong, while writer Sharyfah Bhageloe treats us to a sumptuous selection of mouthwatering food in ‘News From Home,’ fusing flavour and pleasure into bite-sized encounters. Also in this issue, Cesar Majorana muses on flavour and body in the world of wine and Yelena Moskovich studies the figure-kissing catsuit, all amidst the spellbinding works of Tom Hsu, Jodi Bieber, Paul Kooiker and Aysen Kaptanoglu.\u003c\/p\u003e","brand":"Idea House 3","offers":[{"title":"Default Title","offer_id":47081092153639,"sku":null,"price":22.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0837\/0189\/1367\/files\/ExtraExtra_21_1200x1686_2bfb767c-318b-4c6e-8d78-01f097db4179.jpg?v=1699323623"},{"product_id":"mousse-83","title":"Mousse #78","description":"\u003cp\u003eIn this issue:\u003cbr\u003e\u003cbr\u003eFocus on: Maria Eichhorn\u003cbr\u003eLanguage, Labour, Life\u003cbr\u003eCritique, Restitution, Reading\u003cbr\u003eAnticipating her representation of Germany in the upcoming Venice Biennale, Mousse 78’s “Focus on” is dedicated to Maria Eichhorn. Richard Birkett analyzes Eichhorn’s troubling of the line between the temporality of art’s production and the context of its presentation, centering on the complexity of language as a system of order and lack, presence and absence. Rachel Haidu explores the ways in which Eichhorn’s work departs from the first generation of institutional critique practitioners, proposing a reflection on experiences of intimacy and efforts toward living together.\u003cbr\u003e\u003cbr\u003eThe Village People\u003cbr\u003eDemographic patterns show that the global mobility we took for granted in the last decade has shifted in the pandemic era: the narrative is no longer gentrification, but decentralization and dispersion. In the second installment of a three-part essay, Pablo Larios speaks to artists about ruralism, self-sustenance, and the Great Decentering.\u003cbr\u003e\u003cbr\u003eThe Voice Imitator\u003cbr\u003e“At the parent-teacher conference, they told his mother, a diplomat, that he liked to solve all conflicts using rocks, paper, scissors. No one had yet come up with a better, more effective idea.” In the wake of Thomas Bernhard’s The Voice Imitator, Stephanie LaCava delivers incisive, fictional tales portraying bizarre accounts, circumstances, chronicles, and the like.\u003cbr\u003e\u003cbr\u003eTen Stories\u003cbr\u003e“Days I cannot find the words. A dereliction. Other days the words come pouring out of me. Catch them in a plastic cup. Days when I don’t permit myself to laugh, because the world is funny enough without my soundtrack.” Travis Jeppesen pens an assortment of lyrical, confessional, and terse—not to mention steamy—fictional gems.\u003cbr\u003e\u003cbr\u003eTo Know Which Way the Wind Blows\u003cbr\u003eAziz Hazara’s work reflects a childhood spent in a conflict zone—the enduring vestiges of the US and Soviet occupations. Rahel Aima ponders the Afghan-born artist’s research and the thread that runs through his whole production: the relationship between the individual and the collective in terms of both national, regional, and ethnic identity and generational trauma.\u003cbr\u003e\u003cbr\u003ePower Plays: High Stakes in the Art of Haig Aivazian\u003cbr\u003eHaig Aivazian’s practice delves into the serious and often surprisingly quiet business of critique, condemnation, and emancipation. Kaelen Wilson-Goldie describes the works’ exposure of connections between high-tech start-up culture, the military, and urban policing. Aivazianrevives ancient myths, stubborn dreams, and old ways of doing things to find concrete strategies for living in the present.\u003cbr\u003e\u003cbr\u003eDevil, Vanity, Pop\u003cbr\u003eRaque Ford’s practice fuses abstraction, minimalism, and narrative fiction. 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The Sistaaz are eager activists, proud to be trans, proud to be a sex worker, and even prouder of their stunning sense of style. And they want it to be acknowledged.\u003cbr\u003e\u003cbr\u003eA series of photographs and a fashion collection based on the girls’ appearance and their ability to turn whatever they find into the most exuberant outfits was created. This has already resulted in a fashion show at Amsterdam Fashion Week (a show in Cape Town in still on the wish list) and a photo exhibition in Foam Amsterdam.\u003c\/p\u003e","brand":"Idea House 3","offers":[{"title":"Default Title","offer_id":47081304129831,"sku":null,"price":22.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0837\/0189\/1367\/files\/5.png?v=1699326971"},{"product_id":"ursula-issue-7","title":"Ursula Magazine Issue 7","description":"\u003cp\u003eEdited by Randy Kennedy. Text by Alissa Bennett, Gary Indiana, Alison Saar, Bob Nickas, Peter T. 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The issue sets out to ask two ambivalent questions: what is a fashion theory of transness, and what might a trans theory of fashion be? Co-edited with scholars Alex Esculapio and Che Gossett, Viscose 04 productively confronts fashion studies with trans aesthetics and trans studies, and attempts to excavate the largely invisible archives of trans history that form the underside of fashion itself.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThe issue, co-published with Leslie Lohman Museum in New York, features new contributions by a global cast of trans and queer writers, artists, and creatives, responding to the porous notion of “trans cultural production” as a genre full of potentiality. The issue features a wealth of archival and contemporary moments of trans fashion production spanning 50 years. 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Taking points of reference from idolatry found in the Hindu religion, identity politics and pop culture (such as video games, cinema, graffiti and advertising), Nithiyendran’s work – which includes large-scale kinetic installations – results in a Frankensteinian mishmash of artistic traditions from the West and East. ‘In part Nithiyendran is driving towards an idea of sculpture as an animate form,’ writes Rappolt. ‘Not the common-sense or traditional idea of a static and eternal monument, but something that embraces change and ephemerality. Something that is constantly between states.’\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eNathalie Olah and Mitch Speed consider the subject of ‘Art and Class’ in a two-essay focus on, respectively, how class and those in the position to arbitrate what exactly that means affects representation and means of production. ‘Cheap, fast consumerism is the only available source of joy to people robbed of time, freedom and choice,’ Olah writes, ‘and to have those objects of desire ridiculed and mocked in the space of the gallery, is too easy, too low: the pitiful and grotty demand for cheap goods as the symptom of a sick society in perpetual decline? It’s scornful.’ Olah points to the work of Finnish artist Pilvi Takala (whose performance art centres around state control, surveillance and social structures) and Germany-based artist Sung Tieu (whose multimedia work interrogates cultural class divides and the dehumanising web of state apparatus and bureaucracy), as examples of ways in which art can confront issues of class by revealing the conditions that lead to the creation of social divides. Meanwhile, Mitch Speed dissects the ways in which the artworld, and being an artist within that world, is increasingly limited to the purview of the already-wealthy, or those who have access to it – and their tastes and judgements of what makes ‘high’ art. As well as economic class divides, Speed points to discrimination based on race, ethnic background, sex, religion, worldview, disability, age and sexual identity as forms of ostracisation from an artworld that ‘has been so thoroughly annexed by the ruling class that we have lost the ability to imagine how it could meaningfully serve anyone else.’\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eMariacarla Molé looks at the format of diary writing as a method for preserving events and moments in sitú. In 2009, art-historian Vittoria Martini was invited by Swiss artist Thomas Hirschhorn to attend his Bijlmer Spinoza-Festival project in Amsterdam, which took the form of a temporary monument and activated by lectures, workshops, published newspapers; she spent two months (the duration of the artwork) documenting and trying to give definition to a work that was configured as a festival but affirmed (by the artist) as a single sculpture. In light of Martini’s recently published book, Thomas Hirschhorn: The Bijlmer Spinoza-Festival, The Ambassador’s Diary (2023), Molè considers how the narration of an art event, experienced both collectively and individually, but written from the perspective of an art-historian, is expected yet fails to remain objective in light of Martini’s role as a resident ‘ambassador’. 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