The much-revered avant-garde guitarist John Fahey (1939–2001) incorporated influences ranging from folk, blues, and bluegrass to classical music, musique concrete, and noise in his primarily acoustic guitar-based compositions. Considered a legend by many, Fahey released upward of three dozen LPs in his lifetime.Relatively late in life, Fahey extended his so-called American Primitive approach beyond music, and into the creation of a substantial body of paintings created in makeshift studios in and around Salem, Oregon. Painting on found poster board and discarded spiral notebook paper, working with tempera, acrylic, spray paint, and magic marker, Fahey’s intuitive approach echoes the action painters and abstract expressionists. The same alluring and tranquilizing aesthetics that defines much of Fahey’s musical output are equally present in his paintings.The first publication focusing on his visual output, John Fahey: Paintings, edited in collaboration with Audio Visual Arts (AVA), is illustrated with 92 plates and is accompanied by essays from Keith Connolly, founding member of No-Neck Blues Band, and the critic Bob Nickas.

John Fahey: Paintings

Arts & Photography

Individual Artists

Inventory Press

Cutting-edge sound artist and theorist Micah Silver produces sound installations and writes about the impact of sound on human behavior and social space. His research ranges from Yves Klein s Air Architecture to La Monte Young s Dream House, and culminates in a discussion of historically significant sound systems and their physical and experiential impacts (e.g., the Grateful Dead s Wall of Sound custom PA). Silver, also a noted young curator in his field, studied music at Wesleyan and MIT s Program in Art, Culture, and Technology. His installation and performance work have been realized at Mass MoCA, Issue Project Room, Palais de Tokyo in Paris and OK Zentrum along with many other international venues. The release of this combination reader and discussion of the artist s work, coincides with an exhibition at Audio Visual Arts (AVA), New York City, in 2014.

Figures in Air: Essays Toward a Philosophy of Audio

Silver, Micah

History & Criticism

Established in 2007 by Marc Fischer, and featured in the 2014 Whitney Biennial, Public Collectors encourages collectors of material culture―the kind that most museums won’t exhibit―to ‘open’ their collections to the public. Extending the popular website of the same name, this book presents a wide array of collections―some featured on the website, most newly assembled for publication―interspersed with commentary and essays exploring the problems and politics of collecting materials that may lack conventional monetary or cultural value.

Public Collectors

Fischer, Marc

Catalogue suggests an artist’s exhibition catalogue, but is rather a chronological compilation of auction catalogues presenting the sales of the mid-century furniture designed by Le Corbusier and Pierre Jeanneret for Chandigarh, India, featured in Amie Siegel’s multi-element film installation Provenance (2013). An aside, an addendum, an index, the publication ends with the Christie's London catalogue page from the 2013 auction of Provenance itself in the Post-War and Contemporary Art Sale, which completes the economic circuit of the project.

Amie Siegel: Catalogue

Using painting, drawing, and abstraction as markers of a space outside verbal description, Jessica Dickinson examines the slow exchanges between perception, matter, and psychology that develop in peripheral spaces. Each of her works is developed slowly, meditatively, through procedures that work toward a compressed measure of time that echoes the shifts in what is seen, both inwardly and outwardly.Under | Press. | With-This | Hold- | Of-Also | Of/How | Of-More | Of:Know presents eight paintings and their “remainders”―graphite rubbings made of the paintings. Every time the surface of the paintings changes significantly, a graphite impression is made to transcribe the surface. These works in turn map the transitive passages of the paintings, becoming their indexes, unfolding time in a sequence while asserting the materiality of the paintings. Published in conjunction with an exhibition at James Fuentes Gallery, New York, the book's 46 color and 107 b&w reproductions are accompanied by an essay by curator Debra Singer and an interview with the artist by Patricia Treib.

Jessica Dickinson: Under | Press. | With-This | Hold- | Of-Also | Of/How | Of-More | Of:Know

“49 Cities has been a point of reference for me... and it has had a significant impact on my thinking. It presents the city as a properly architectural problem.”―Stan Allen, architect
Throughout history architects and planners have dreamed of “better” and different cities―more controllable, more defensible, more efficient, more monumental, more organic, taller, denser, sparser or greener. With every plan, radical visions were proposed, ones that embodied not only the desires but also, and more often, the fears and anxieties of their time. Today, with the failure of the suburban experiment and the looming end-of-the world predictions―from global warming and waste to post-peak oil energy crises and uncontrolled world urbanization―architects and urbanists find themselves once more at a crossroad, fertile for visionary thinking.
49 Cities is a call to re-engage cities as the site of radical thinking and experimentation, moving beyond “green building” toward an embrace of ideas, scale, vision and common sense combined with delirious imagination in the pursuit of empowering questioning and re-invention.
In addition to enhanced, high-quality reproductions and illustrations, this cloth-bound third edition includes an interview between Amale Andraos, Dan Wood, Joseph Grima, and Archigram’s Michael Webb, an essay on The Death and Life of Urban Planning by Sam Jacob (founder of FAT Architecture) and new interviews with culture-defining architects Chip Lord (Ant Farm) and Yona Friedman.

49 Cities

Wood, Dave

Andraos, Amale

Architecture

Radical pedagogy from Bauhaus to Black Mountain: a defining document of '60s counterculture
Maurice R. Stein and Larry Miller’s Blueprint for Counter Education is one of the defining (but neglected) works of radical pedagogy of the Vietnam War era. Originally published as a boxed set by Doubleday in 1970, the book was accompanied by large graphic posters that could serve as a portable learning environment for a new process-based model of education, and a bibliography and checklist that map patterns and relationships between radical thought and artistic practices―from the modernist avant-gardes to postmodernism, from the Bauhaus to Black Mountain College, from Theodor Adorno and Walter Benjamin to Buckminster Fuller and Norman O. Brown―with Herbert Marcuse and Marshall McLuhan serving as points of anchorage. Blueprint for Counter Education thus serves as a vital synthesis of the numerous intellectual currents in the countercultural debate on the radical reform of schools, universities and ways of learning. To accompany this new facsimile edition of the book and posters, an 80-page booklet features a conversation with the original Blueprint creators, Maurice R. Stein, Larry Miller and designer Marshall Henrichs, as well as essays from Jeffrey Schnapp, Paul Cronin and notes on the design by Adam Michaels of Project Projects. Marshall Henrichs is a painter as well as a graphic designer; he studied with Richard Lindner, Walter Murch, George McNeil and Fredrico Castellon at the Pratt Institute. After graduation, he worked for several major New York publishers including Doubleday, where he served as art director. Among his editorial projects were various mainstream projects but also counterculture outliers such as Blueprint for Counter Education and Ira Einhorn's 78–187880 (Doubleday, 1972). Larry Miller, sociologist, was a member of the editorial collectives of the New American Movement newspaper and the journal Socialist Revolution/Socialist Review. He has written about major theorists and writers such as Marx, Gramsci, Althusser and Machiavelli. Maurice R. Stein is an American sociologist and innovator in higher education. Stein is co-recipient of the 1987 Robert and Helen Lynd Lifetime Achievement Award bestowed by the American Sociological Association’s Community and Urban Sociology Section. Retired from Brandeis University since 2002, Stein resides in Cambridge, Massachusetts. Paul Cronin is the editor of On Film-Making: An Introduction to the Craft of the Director (2004), a collection of writings by British director Alexander Mackendrick; Werner Herzog’s A Guide for the Perplexed (2014), an interview book with the German director; and Lessons with Kiarostami (2014), based on workshops conducted by Iranian director Abbas Kiarostami. His films include “Look out Haskell, it’s real!” The Making of Medium Cool (2001; re-edited 2013), Film as a Subversive Art: Amos Vogel and Cinema 16 (2003), In the Beginning was the Image: Conversations with Peter Whitehead (2006) and A Time to Stir (forthcoming, 2017), a 15-hour historical documentary about the student protests at Columbia University in 1968. Adam Michaels is the cofounder of New York–based design studio Project Projects and the founder of Inventory Press. His work focuses on the active synthesis of typography and images―as well as editorial and design work―as a means of conveying significant content to diverse audiences. Project Projects works on books, exhibitions, identity systems and websites with clients such as the Canadian Centre for Architecture, MoMA, SALT Istanbul and Steven Holl Architects, and has been chosen twice as a finalist for the Cooper-Hewitt National Design Awards. The studio's work has been widely published, and its principals have lectured and taught both nationally and internationally. The third and most recent title in the Inventory Books series is The Electric Information Age Book: McLuhan/Agel/Fiore and the Experimental Paperback, by Jeffrey T. Schnapp and Adam Michaels, which was further elaborated upon as a full-length vinyl LP entitled The Electric Information Age Album. Before moving to Harvard in 2011, Jeffrey T. Schnapp occupied the Pierotti Chair of Italian at Stanford University, where he founded the Stanford Humanities Lab in 1999. A cultural historian, designer and curator, he is the author of over 20 books and hundreds of essays. His most recent books are The Electric Information Age Book (Princeton Architectural Press, 2012); Modernitalia (Peter Lang, 2012); and Digital_Humanities (MIT Press, 2012), coauthored with Anne Burdick, Johanna Drucker, Peter Lunenfeld and Todd Presner. The Library beyond the Book, coauthored with Matthew Battles, was published by Harvard University Press in 2014. Schnapp is professor of romance literatures at Harvard, where he also teaches in the Department of Architecture at the Graduate School of Design, in addition to directing metaLAB and codirecting the Berkman Center for Internet and Society.

Blueprint for Counter Education

Miller, Larry

Stein, Maurice

Henrichs, Marshall

Pioneering conceptualist Jiro Takamatsu (1936–98), a major influence on the artists of the Mono-ha movement, had a career that spanned 40-plus years, during which time his considerable influence as an artist, theorist and teacher extended across the Japanese postwar cultural landscape. Takamatsu sought to take art outside conventional and institutional settings, collapsing the boundaries between art and life. His practice shifts across appearance and materials, from drawing and sculpture to photography. This volume catalogs recently exhibited works (at Kayne Griffin Corcoran, Los Angeles), including the seminal “Rusty Ground.” Also included are archival photography of the artist’s studio, historical process images and stills from a 1974 Japanese television documentary depicting Takamatsu at work. Copiously illustrated, the book offers a timely reevaluation of Takamatsu’s practice following a significant resurgence of appreciation for the Japanese avant-garde.

Jiro Takamatsu

Mary Corse (born 1945) earned acclaim in the 1960s for pieces ranging from shaped-canvas paintings to ingenious light works. Corse has dedicated the decades since to establishing a unique practice at the crossroads of abstract expressionism and minimalism.
Despite her now-frequent association with California’s Light and Space movement, the Los Angeles–based artist evolved independently of the region’s dominant personalities, philosophies and scenes.
Produced in conjunction with her solo exhibition at Kayne Griffin Corcoran, this is the first major catalog on the artist. With an essay by Suzanne Hudson and an interview by Alex Bacon, it initiates a critical reappraisal of an artist whose singular vision has been hidden for too long.

Mary Corse

Midnight: The Tempest Essays, the second book in Molly Nesbit’s Pre-Occupations series, returns the question of pragmatism to the everyday critical practice of the art historian working in the late 20th century. These essays take their cues from the work of specific artists and writers, beginning in the late 1960s, a time when critical commentary found itself in a political and philosophical crisis.Illustrated case studies on Eugène Atget, Marcel Duchamp, Jean-Luc Godard, Cindy Sherman, Louise Lawler, Rachel Whiteread, Gabriel Orozco, Rirkrit Tiravanija, Lawrence Weiner, Nancy Spero, Rem Koolhaas, Martha Rosler, Gerhard Richter, Matthew Barney and Richard Serra, among others, continue the legacy of a pragmatism that has endured while debates over postmodernism and French philosophy raged.

Midnight: The Tempest Essays: Pre-Occupations 2

Nesbit, Molly

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