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Untitled

Untitled is a limited edition photogravure print by Wade Guyton that serves as the first installment in a new series documenting the artist’s works as they are being examined, unrolled, installed, or conserved. This work marks Guyton’s first time utilizing the photogravure printing process.

Primary Information has available 25 prints from the total edition of 50. The remaining prints in the edition will eventually be included in a set of the full series of works, once completed at a later date. Untitled is printed on a heavy Somerset Satin paper by Tina Kinsbourne, Renaissance Press.

Wade Guyton (b. 1972) was born in Hammond, Indiana, and lives and works in New York. His work has been the subject of numerous one-person exhibitions including Espace Louis Vuitton, Tokyo (2024), Museum Ludwig in Cologne (2019), the Serpentine Gallery in London (2017), Museo Madre – museo d’arte contemporanea Donnaregina in Naples (2017), Museum Brandhorst in Munich (2017), Musée d’art moderne et contemporain (MAMCO) in Geneva (2016), Le Consortium in Dijon (2016), Kunsthalle Zürich (2013), and the Whitney Museum of American Art in New York (2012).

20 x 16 inches (paper size)
10 5/16 x 14 1/4 inches (image size)
Photogravure on Somerset Satin 300gsm
Edition of 50 + 10 APs
Signed and dated on verso
2025

Untitled

Untitled is a limited edition photogravure print by Wade Guyton that serves as the first installment in a new series documenting the artist’s works as they are being examined, unrolled, installed, or conserved. This work marks Guyton’s first time utilizing the photogravure printing process.

Primary Information has available 25 prints from the total edition of 50. The remaining prints in the edition will eventually be included in a set of the full series of works, once completed at a later date. Untitled is printed on a heavy Somerset Satin paper by Tina Kinsbourne, Renaissance Press.

Wade Guyton (b. 1972) was born in Hammond, Indiana, and lives and works in New York. His work has been the subject of numerous one-person exhibitions including Espace Louis Vuitton, Tokyo (2024), Museum Ludwig in Cologne (2019), the Serpentine Gallery in London (2017), Museo Madre – museo d’arte contemporanea Donnaregina in Naples (2017), Museum Brandhorst in Munich (2017), Musée d’art moderne et contemporain (MAMCO) in Geneva (2016), Le Consortium in Dijon (2016), Kunsthalle Zürich (2013), and the Whitney Museum of American Art in New York (2012).

20 x 16 inches (paper size)
10 5/16 x 14 1/4 inches (image size)
Photogravure on Somerset Satin 300gsm
Edition of 50 + 10 APs
Signed and dated on verso
2025

Untitled

Untitled is a limited edition photogravure print by Wade Guyton that serves as the first installment in a new series documenting the artist’s works as they are being examined, unrolled, installed, or conserved. This work marks Guyton’s first time utilizing the photogravure printing process.

Primary Information has available 25 prints from the total edition of 50. The remaining prints in the edition will eventually be included in a set of the full series of works, once completed at a later date. Untitled is printed on a heavy Somerset Satin paper by Tina Kinsbourne, Renaissance Press.

Wade Guyton (b. 1972) was born in Hammond, Indiana, and lives and works in New York. His work has been the subject of numerous one-person exhibitions including Espace Louis Vuitton, Tokyo (2024), Museum Ludwig in Cologne (2019), the Serpentine Gallery in London (2017), Museo Madre – museo d’arte contemporanea Donnaregina in Naples (2017), Museum Brandhorst in Munich (2017), Musée d’art moderne et contemporain (MAMCO) in Geneva (2016), Le Consortium in Dijon (2016), Kunsthalle Zürich (2013), and the Whitney Museum of American Art in New York (2012).

20 x 16 inches (paper size)
10 5/16 x 14 1/4 inches (image size)
Photogravure on Somerset Satin 300gsm
Edition of 50 + 10 APs
Signed and dated on verso
2025

THING

Started in 1989 by designer and writer Robert Ford, THING magazine was the voice of the Queer Black music and art scene in the early 1990s. Ford and his editors were part of the burgeoning House music scene, which originated in Chicago’s Queer underground, and some of the top DJs and musicians from that time were featured in the magazine, including Frankie Knuckles, Gemini, Larry Heard, Rupaul, and Deee-Lite. THING published ten issues from 1989-1993, before it was cut short by Ford’s death from AIDS-related illness. All ten issues of THING are collected and published here for the first time.

As House music thrived, THING captured the multidisciplinary nature of the scene, opening its pages to a wide range of subjects: poetry and gossip, fiction and art, interviews and polemics. The HIV/AIDS crisis loomed large in its contents, particularly in the personal reflections and vital treatment resources that it published. An essay by poet Essex Hemphill was published alongside the gossip columnist Michael Musto and Rupaul dished wisdom alongside a diary from the March on Washington for Lesbian, Gay, and Bi Equal Rights and Liberation. Joan Jett Blakk’s revolutionary presidential campaign is contained in these pages, as are some of the most underground, influential literary voices of the time, such as Dennis Cooper, Vaginal Davis, Gary Indiana, Marlon Riggs, David Wojnarowicz, and even David Sedaris.

THING was very much in dialogue with the club kids in New York and other Queer publishing ventures, but in many ways, it fostered an entirely unique perspective—one with more serious ambitions. In a moment when the gay community was besieged by the HIV/AIDS crisis and a wantonly cruel government, the influence and significance of this cheaply-produced newsprint magazine vastly exceeded its humble means, presenting a beautiful portrait of the ball and club culture that existed in Chicago with deep intellectual reflections. THING was a publication by and for its community and understood the fleetingness of its moment. To reencounter this work today, is to reinstate the Black voices who were so central to the history of HIV/AIDS activism and Queer and club culture, but which were often sidelined by white Queer discourse. In many ways, THING offered a blueprint for the fundamental role a magazine plays in bringing together a community, its tagline summing up the bold stakes of this important venture: “She Knows Who She Is.”

The magazine included contributions from Trent D. Adkins, Joey Arias, Aaron Avant Garde, Ed Bailey, Freddie Bain, Basscut, Belasco, Joan Jett Blakk, Simone Bouyer, Lady Bunny, Bunny & Pussy, Derrick Carter, Fire Chick, Chicklet, Stephanie Coleman, Bill Coleman, Lee Collins, Gregory Conerly, Mark Contratto, Dennis Cooper, Dorian Corey, Ed Crosby, The Darva, Vaginal Davis, Deee-Lite, Tor Dettwiler, Riley Evans, Evil, The Fabulous Pop Tarts, Mark Farina, Larry Flick, Robert Ford, Scott Free, David Gandy, Gemini, Gabriel Gomez, Roy Gonsalves, Chuck Gonzales, Tony Greene, André Halmon, Lyle Ashton Harris, Larry Heard, Essex Hemphill, Kathryn Hixson, Sterling Houston, Ishmael Houston-Jones, Gary Indiana, Candy J, Jamoo, Jazzmun, Gant Johnson, Owen Keehnen, Lady Miss Kier, Spencer Kincy, Iris Kit, Erin Krystle, Steve LaFreniere, Larvetta Larvon, Marc Loveless, Lypsinka, Malone, Marjorie Marginal, Terry A. Martin, Rodney McCoy Jr., Alan Miller, Bobby Miller, Michael Musto, Ultra Naté, Willi Ninja, Scott “Spunk” O’Hara, DeAundra Peek, Earl Pleasure, Marlon Riggs, Robert Rodi, Todd Roulette, RuPaul, Chantay Savage, David Sedaris, Rosser Shymanski, Larry Tee, Voice Farm, Lawrence D. Warren, Martha Wash, LeRoy Whitfield, Stephen Winter, David Wojnarowicz, and Hector Xtravaganza.

460 pages
8 x 10.2  inches
Paperback
February 2025
ISBN: 9798988573647

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Managing Editors: James Hoff and Sam Korman
Designer: Rick Myers
Copy Editor: Allison Dubinsky

Portrait of Kathy Acker

“Portrait of Kathy Acker” (1978) is a limited edition print by Jimmy DeSana. Printed posthumously and signed and numbered by the artist’s estate, this work was selected from a series of portraits the artist took of famed writer and friend Kathy Acker. “Portrait of Kathy Acker” (1978) is part of a larger series of commercial photographs of Downtown celebrities that DeSana carried out in the late 1970s alongside his work for artists’ magazines and periodicals like FILE, X Magazine, and SoHo Weekly News, as well as for musicians such as the Talking Heads and James Chance. This body of work also appeared in the artist’s first exhibition at Steffanoti Gallery (1979) and in P.S.1’s legendary New York/New Wave (1981).

Printed in an edition of 75, this 5 x 7” pigment print comes with a copy of Salvation, DeSana’s posthumous artist book, as well as a facsimile edition of Quotations from Jimmy DeSana, both published by Primary Information in spring 2024.

Jimmy DeSana (1949-1990) grew up in Atlanta, GA, and earned his bachelor’s degree from the Georgia State University in 1972 before relocating to New York’s East Village in the early 1970s. Recent solo and two-person exhibitions include Jimmy DeSana & Paul P.—Ruins of Rooms, KW Institute for Contemporary Art, Berlin, Germany, 2024 and The Sodomite Invasion: Experimentation, Politics and Sexuality in the work of Jimmy DeSana and Marlon T. Riggs, Griffin Art Projects, Vancouver, Canada, 2020. DeSana’s work can be found in numerous public collections including the Institute of Contemporary Art, Boston, MA; Metropolitan Museum of Art, New York; Museum of Contemporary Art, Chicago, IL; Museum of Fine Arts, Houston, TX; Museum of Modern Art, New York, NY; and the Whitney Museum of American Art, New York, NY, among others. A major retrospective of DeSana’s work was exhibited at the Brooklyn Museum, New York, in 2022, accompanied by a catalogue co-published by the Brooklyn Museum and DelMonico Books.

5 x 7 inches
Pigment print
Edition of 75 + 5 APs
Stamped and numbered by the Artist’s Estate
August 2024

Salvation

Salvation is a previously-unpublished artist book by Jimmy DeSana that he conceptualized shortly before his death in 1990. The publication contains 44 of the artist’s late photographic abstractions that quietly and poetically meditate on loss, death, and nothingness. Depicted within the works are images of relics, body parts, flowers, and fruits that DeSana altered using collage and darkroom manipulations to create pictures that are both intimate and other-worldly. Salvation provides a nuanced and sophisticated counterpoint to the prevailing work around HIV/AIDS at the time, which tended to favor bold political statements.

Variations of many of the works in this book were first presented at DeSana’s last show with Pat Hearn Gallery in 1988. Shortly thereafter, the artist began assembling a maquette of Salvation, using black and white images as place holders for the color works that he intended to comprise the final layout of the publication. Sadly, he was unable to fully realize Salvation in his lifetime, but on his deathbed, he dictated instructions to his longtime friend Laurie Simmons for completing the work; instructions which she noted on each page of the single-copy maquette. With these notes, Simmons was able to match extant slides  and sequencing. Simmons’ studio chose color gels from DeSana’s archive for each corresponding black and white image in the assembly of the publication. Thankfully, due to this recuperative work, Salvation—long-considered to be DeSana’s last major work—is now available for the first time, with every step taken to honor and embody DeSana’s original vision.

Jimmy DeSana (1949-1990) grew up in Atlanta, GA, and received his bachelor’s degree from the Georgia State University in 1972 before relocating to New York’s East Village in the early 1970s. Recent solo and two-person exhibitions include The Sodomite Invasion: Experimentation, Politics and Sexuality in the work of Jimmy DeSana and Marlon T. Riggs, Griffin Art Projects, Vancouver, Canada, 2020, and Remainders, Pioneer Works, Brooklyn, NY, 2016. DeSana’s work can be found in numerous public collections including the Institute of Contemporary Art, Boston, MA; Metropolitan Museum of Art, New York; Museum of Contemporary Art, Chicago, IL; Museum of Fine Arts, Houston, TX; Museum of Modern Art, New York, NY; and the Whitney Museum of American Art, New York, NY, among others. A major retrospective of DeSana’s work was exhibited at the Brooklyn Museum, New York, in 2022, accompanied by a catalogue co-published by the Brooklyn Museum and DelMonico Books.

48 pages
8.5 x 10.5 inches
Paperback
April 2024
ISBN: 9798988573630

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Editor: James Hoff and Laurie Simmons Studio
Designer: Rick Myers

Laurie Simmons Studio is Danielle Bartholomew, Laurie Simmons, and Mary Simpson.