Room

Room is a letterpress print by William Wegman produced on the occasion of Primary Information’s publication of William Wegman: Writing by Artist. The work  is created from a 1973 drawing by the artist that is included in publication. It is produced in an edition of 75 and is hand-numbered and signed by the artist.

William Wegman was born in 1943 in Holyoke, Massachusetts. His work has been exhibited at museums and galleries internationally including retrospectives at the Whitney Museum of American Art, the Walker Art Center, the Wexner Center for the Arts, and the Centre Pompidou. Recent exhibitions include Before/On/After: William Wegman and California Conceptualism at the Metropolitan Museum of Art. Wegman has also created film and video works for Saturday Night Live, Nickelodeon, and Sesame Street and appeared on The Tonight Show, The David Letterman Show, and The Colbert Report.

8.5 x 11 inches
Letterpress print
Edition of 75 + 5 APs
1973/2022

Black Phoenix: Third World Perspective on Contemporary Art and Culture

This publication is a compilation of all three issues of the journal Black Phoenix published as a single volume. Edited and published by Rasheed Araeen and Mahmood Jamal between 1978 and 1979 in the United Kingdom, Black Phoenix remains a key and radical document of transnational solidarity and cultural production in the visual arts, literature, activism, and beyond.

More than a decade after the liberation movements of the 1960s and the historic Bandung and Tricontinental Conferences, which called for social and political alignment and solidarity among the nations of Africa, Asia, and Latin America in order to dismantle Western imperialism and (neo)colonialism, Black Phoenix issued a rallying cry for the formation of a liberatory arts and culture movement throughout the Third World. International in scope, Black Phoenix positioned diasporic and colonial histories at the center of an evolving anti-racist and anti-imperialist consciousness in late 1970s Britain and beyond—one that would yield complex and nuanced discourses of race, class, and postcolonial theory in the decade that followed. Black Phoenix proposed a horizon for Blackness that transcended racial binaries, across the Third World and the West.

Contributors include art critics, scholars, artists, poets, and writers, including Rasheed Araeen (Pakistan) and Mahmood Jamal (Pakistan), Guy Brett (United Kingdom), Kenneth Coutts-Smith (United Kingdom), Ariel Dorfman (Chile), Eduardo Galeano (Uruguay), N. Kilele (Tanzania), Babatunde Lawal (Nigeria), David Medalla (Philippines), Ayyub Malik (Pakistan), Susil Siriwardena (Sri Lanka), and Chris Wanjala (Kenya).

Rasheed Araeen is a Karachi-born, London-based artist, activist, writer, editor, and curator. Aareen founded the critical journals Black PhoenixThird Text, and Third Text Asia, and took on activist roles with the Black Panthers and Artists for Democracy. His work has been exhibited widely, including, most recently, at the Pulitzer Arts Foundation, Chicago; BALTIC Centre of Contemporary Art, Gateshead; MAMCO, Geneva; Van Abbemuseum, Eindhoven; Tate Britain, London; the 2017 Venice Biennale; and Documenta 14, Athens/Kassel, among others.

Mahmood Jamal was born in Lucknow, India, and moved to Britain from Pakistan in 1967. He published several books of poetry, including Sugar Coated Pill (2007), and translated the Islamic Mystical Poetry: Sufi Verse from the Early Mystics to Rumi (2009) and Faiz: Fifty Poems (2013), among other titles. In 1983, he co-formed the all-Asian Retake Film and Video Collective production company, and initiated Epicflow Films in 1989. Jamal worked as an independent producer and writer; produced several documentary series, including Islamic Conversations; was a lead writer on Britain’s first Asian soap, Family Pride (1991–92), and wrote and produced Turning World (1996) for Channel4 television. He died in London in December 2020.

108 pages
8.3 x 11.8 inches
Paperback
Edition of 2500
April 2022
ISBN: 9781736534670

Editors: Rasheed Araeen and Mahmood Jamal
Managing Editor: Rachel Valinsky
Managing Designer: Dan Bourke

Writing by Artist

Writing by Artist is the first collection to focus on William Wegman’s lengthy and deeply funny relationship to language and is filled with previously unknown and wildly entertaining texts, drawings, and early photographs spanning the early 1970s to the present.

Not your standard book of essays, the publication was meticulously edited by Andrew Lampert to feature works incorporating words in one form or another. In some instances, the text is simply a caption or a few hand-written words, but all of the selected works hinge conceptually and pictorially on writing and language.

Writing by Artist offers a wide range of entry points into the artist’s universe. There are early photographic works, which may be familiar, but from there, things delightfully unravel with absurd non-sequiturs typed on Princess Cruises stationary, imagined restaurant reviews, witty annotations to a curator’s essay, musings on ancient footwear, deliberate mistranslations, reworked greeting cards, fictional advertisements for real life products, and other surprising prose forms.

Ultimately, Writing by Artists alters the logic and pushes the boundaries of what artist writing can be—shedding new light for those only familiar with Wegman’s later work, while serving as a welcome reminder of the artist’s madcap inventiveness for the already enlightened. In short, what you do or don’t know about William Wegman now conveniently fits into this strangely beguiling collection.

William Wegman was born in 1943 in Holyoke, Massachusetts. His work has been exhibited at museums and galleries internationally including retrospectives at the Whitney Museum of American Art, the Walker Art Center, the Wexner Center for the Arts, and the Centre Pompidou. Recent exhibitions include Before/On/After: William Wegman and California Conceptualism at the Metropolitan Museum of Art. Wegman has also created film and video works for Saturday Night Live, Nickelodeon, and Sesame Street and appeared on The Tonight Show, The David Letterman Show, and The Colbert Report.

Andrew Lampert is a New York-based artist, writer, archivist, and primary in the firm Chen & Lampert. His works have been internationally exhibited at venues including the Whitney Museum of American Art, New York Film Festival, Getty Museum, Toronto International Film Festival, and the International Film Festival Rotterdam, among many other venues. He has edited books on Tony Conrad, Manuel De Landa, George Kuchar, and Harry Smith. Lampert was formerly Curator of Collections at Anthology Film Archives, where he preserved hundreds of films and videos and co-programmed public screenings. His videos are distributed by Electronic Arts Intermix.

352 Pages
8.5 x 11 inches
Paperback
Edition of 4500
March 2022
ISBN: 9781737797906

Editor: Andrew Lampert
Designer: Scott Ponik
Managing Editor: James Hoff

Top Stories

Top Stories was a prose periodical published from 1978 to 1991 by the artist Anne Turyn in Buffalo, New York, and New York City. Over the course of twenty-nine issues, it served as a pivotal platform for experimental fiction and art through single-artist issues and two anthologies. The entire run of Top Stories is collected and reproduced here across two volumes.

Top Stories primarily featured female artists, though in Turyn’s words a few men “crept in as collaborators.” Although primarily “a prose periodical” (as its byline often stated), the issues varied in form and aesthetics, pushing the boundaries of what prose could be and, from time to time, escaping the genre altogether. In fact, the only parameters required for participants were that the periodical’s logo and issue list be included on the front and back covers, respectively.

A great deal of the works are short stories by the likes of Pati Hill, Tama Janowitz, and Kathy Acker, whose Pushcart Prize–winning “New York City in 1979” appeared for the first time in book form as part of the series. Constance DeJong contributes “I.T.I.L.O.E.,” a widely unavailable work that features the artist’s trademark prose and is sure to please fans of her novel, Modern Love. The largest issue of the periodical is undoubtedly Cookie Mueller’s How to Get Rid of Pimples,” which consists of a series of character studies of friends interspersed with photographs by David Armstrong, Nan Goldin, and Peter Hujar altered with freshly drawn blemishes.

Top Stories also celebrates less conventional literary forms. Issues by Lisa Bloomfield, Linda Neaman, and Anne Turyn take the form of artists’ books, juxtaposing image and text to construct tightly wound, interdependent narratives. Jenny Holzer and Peter Nadin present a collaborative work in copper ink comprised of truisms by Holzer on corporeal and emotional states and drawings of abstract bodies by Nadin. Janet Stein contributes a comic, while Ursule Molinaro provides a thorough index of daily life (and the contempt it produces) consisting of entries that were written just prior to lighting a cigarette.

Primary contributors include Kathy Acker, Laurie Anderson, Sheila Ascher, Douglas Blau, Lisa Bloomfield, Linda L. Cathcart, Cheryl Clarke, Susan Daitch, Constance DeJong, Jane Dickson, Judith Doyle, Lee Eiferman, Robert Fiengo, Joe Gibbons, Pati Hill, Jenny Holzer, Gary Indiana, Tama Janowitz, Suzanne Jackson, Suzanne Johnson, Caryl Jones-Sylvester, Mary Kelly, Judy Linn, Micki McGee, Ursule Molinaro, Cookie Mueller, Peter Nadin, Linda Neaman, Glenn O’Brien, Romaine Perin, Richard Prince, Lou Robinson, Janet Stein, Dennis Straus, Sekou Sundiata, Leslie Thornton, Kirsten Thorup, Lynne Tillman, Anne Turyn, Gail Vachon, Brian Wallis, Jane Warrick, and Donna Wyszomierski.

David Armstrong, Nan Goldin, JT Hryvniak, Peter Hujar, Nancy Linn, Trish McAdams, Linda Neaman, Marcia Resnick, Michael Sticht, and Aja Thorup all make appearances as well, contributing artwork for the covers or as illustrations.

Anne Turyn is a photographer based in New York. Turyn’s work has been exhibited at the Museum of Modern Art, the Metropolitan Museum of Art, Kunsthalle Bern, Denver Art Museum, Walker Art Center, and Los Angeles County Museum of Art.

954 pages
5.5 x 8.5 inches
Paperback
Edition of 3000
February 2022
ISBN: 9781736534618

Editor: Anne Turyn
Managing Editor: Hiji Nam
Managing Designer: Rick Myers

From Basement to Godzilla

This limited-edition print portfolio was produced by Godzilla: Asian American Art Network in 1999 and features 46 signed works by 48 artists. The portfolio was designed to complement the collective’s installation “From Basement to Godzilla,” as part of the Urban Encounters exhibition at the New Museum, in which Godzilla paid tribute to Basement Workshop, a grassroots artist-activist group founded in 1970 and one of the formative predecessors to Godzilla. The portfolio is modelled after Basement Workshop’s legendary Yellow Pearl, a boxed collection of graphics, poetry, song lyrics, and photographs published in 1972.

Housed in an archival box and hand stamped with the logos for Yellow Pearl and Godzilla, From Basement to Godzilla was originally printed in an edition of 250. However only half were assembled and distributed at the time. In 2022, Primary Information partnered with members of Godzilla to complete the assembly of the edition and provide 100 copies for sale.

The portfolio is comprised of members of Godzilla and Basement Workshop and includes works by Diyan Achjadi/Cheri Gandy, John Allen, Tomie Arai, Todd Ayoung, Keiko Bonk, Emily Cheng, Fay Chiang/Xian Chiang-Waren, Janice Chiang, Jean Chiang, Alex Chin, Ken Chu, Allan de Souza, Ming Fay, Great Leap, Skowmon Hastanan, Arlan Huang/Fay Chiang, Jason Kao Hwang, Michi Itami, William Jung, Byron Kim, Franky Kong/Jenni Kim, Nina Kuo, Bing Lee, Colin Lee, Corky Lee, Cynthia Lee, Lanie Lee, Robert Lee, Sally Leung, Franky Liu, Stefani Mar, Fay Chew Matsuda, Yong Soon Min, Philip Tajitsu Nash, Helen Oji, Athena Robles, Carol Sun, Kim Tran, Audrey E. Wong, Maureen Wong, Virgil Wong, Theodora Yoshikami, Mimi Young, Charles Yuen, Susan L. Yung, Zhang Hongtu.

The collective known as Godzilla: Asian American Art Network was formed in 1990 to support the production of critical discourse around Asian American art and increase the visibility of Asian American artists, curators, and writers, who were negotiating a historically exclusionary society and art world. Founded by Ken Chu, Bing Lee, and Margo Machida, Godzilla produced exhibitions, publications, and community collaborations that sought to stimulate social change through art and advocacy. For more than a decade, the diasporic group, having grown from a local organization into a nationwide network, confronted institutional racism, Western imperialism, anti-Asian violence, the AIDS crisis, and representations of Asian sexuality and gender, among other urgent issues.

The Basement Workshop was a grassroots and activist arts collective founded in downtown New York in 1970, and is considered one of the first pan-Asian political and arts organizations on the East Coast. Active from 1971 to 1986, Basement Workshop published art and creative writing in Bridge Magazine (1971–78), produced the Yellow Pearl visual arts portfolio, held workshops and youth programs, supported community-based healthcare, and compiled resources and information on API history and communities. Its members later went on to found many organizations, including the Asian American Arts Alliance, Asian American Arts Centre, the Museum of Chinese in America, Asian CineVision, Asian American Dance Theatre, and Godzilla: Asian American Art Network.

10.75 x 10.75 inches (Prints)
11 x 11 inches (Box)
Portfolio including 46 signed prints
B&W
Edition of 250
Published by Godzilla: Asian American Art Network in 1999
Distributed by Primary Information in 2022

Typecode 9

Typecode 9 is a letterpress print by Tomaso Binga produced on the occasion of Primary Information’s publication of Women in Concrete Poetry: 1959-1979. The print is produced in an edition of 50 and is hand-numbered and signed by the artist.

The work was originally produced in 1978 and is part of a larger series of Typecodes, many of which are included in Women in Concrete Poetry: 1959-1979.

Tomaso Binga is an Italian artist and poet working in performance, collage, painting, and installation.

12.5 x 12.5 inches
Letterpress print
Edition of 50
2020

Untitled page from Humpty Dumpty

Untitled page from Humpty Dumpty is a letterpress print produced on the occasion of Primary Information’s publication of Women in Concrete Poetry: 1959-1979. The print is produced in an edition of 50 and includes a hand-numbered certificate of authenticity signed by the artist.

This work was originally produced in 1969 as part of Niccolai’s first book of poetry, Humpty Dumpty, much of which is reproduced in Women in Concrete Poetry: 1959-1979. 

Giulia Niccolai is a poet, artist, essayist, and translator based in Italy.

8.5 x 12.5 inches
Letterpress Print
Edition of 50 (+5 APs)
2020

Victory Defeat

Victory Defeat is a letterpress print produced on the occasion of Primary Information’s publication of Women in Concrete Poetry: 1959-1979. The print is produced in an edition of 50 and includes a hand-numbered certificate of authenticity stamped by the artist.

Victory Defeat was originally produced in 1980.

Ruth Wolf-Rehfeldt is an artist based in Germany. She is well known for her typewriter and mail-art works, which she produced in the 1970s and 1980s.

8.5 x 12.5 inches
Letterpress print
Edition of 50 (+5 APs)
2020

X-Small

This limited-edition is a facsimile reproduction of a Godzilla t-shirt created and designed in 1993 by Stefani Mar, Helen Oji, Tony Wong, and Charles Yuen. It’s being produced by Primary Information to celebrate the recent publication of Godzilla: Asian American Arts Network 1990-2001, which was edited by Howie Chen.

Shirts are only available on a made-to-order basis with a limited window for pre-orders. If you’d like to purchase this edition, please order before 6:00 pm on Friday, December 10. After this date, all orders will be closed and the edition will no longer be available. All orders will ship on or before January 3.

Click here to view all available t-shirt sizes.

The collective known as Godzilla: Asian American Art Network was formed in 1990 to support the production of critical discourse around Asian American art and increase the visibility of Asian American artists, curators, and writers, who were negotiating a historically exclusionary society and art world. Founded by Ken Chu, Bing Lee, and Margo Machida, Godzilla produced exhibitions, publications, and community collaborations that sought to stimulate social change through art and advocacy. For more than a decade, the diasporic group, having grown from a local organization into a nationwide network, confronted institutional racism, Western imperialism, anti-Asian violence, the AIDS crisis, and representations of Asian sexuality and gender, among other urgent issues.

T-shirt
Open Edition
December 2021


Designers: Stefani Mar, Helen Oji, Tony Wong, and Charles Yuen
Managing Designer (2021): William Bahan
Printer: Flying Saucer Press

 

 

Small

This limited-edition is a facsimile reproduction of a Godzilla t-shirt created and designed in 1993 by Stefani Mar, Helen Oji, Tony Wong, and Charles Yuen. It’s being produced by Primary Information to celebrate the recent publication of Godzilla: Asian American Arts Network 1990-2001, which was edited by Howie Chen.

Shirts are only available on a made-to-order basis with a limited window for pre-orders. If you’d like to purchase this edition, please order before 6:00 pm on Friday, December 10. After this date, all orders will be closed and the edition will no longer be available. All orders will ship on or before January 3.

Click here to view all available t-shirt sizes.

The collective known as Godzilla: Asian American Art Network was formed in 1990 to support the production of critical discourse around Asian American art and increase the visibility of Asian American artists, curators, and writers, who were negotiating a historically exclusionary society and art world. Founded by Ken Chu, Bing Lee, and Margo Machida, Godzilla produced exhibitions, publications, and community collaborations that sought to stimulate social change through art and advocacy. For more than a decade, the diasporic group, having grown from a local organization into a nationwide network, confronted institutional racism, Western imperialism, anti-Asian violence, the AIDS crisis, and representations of Asian sexuality and gender, among other urgent issues.

T-shirt
Open Edition
December 2021


Designers: Stefani Mar, Helen Oji, Tony Wong, and Charles Yuen
Managing Designer (2021): William Bahan
Printer: Flying Saucer Press

 

Medium

This limited-edition is a facsimile reproduction of a Godzilla t-shirt created and designed in 1993 by Stefani Mar, Helen Oji, Tony Wong, and Charles Yuen. It’s being produced by Primary Information to celebrate the recent publication of Godzilla: Asian American Arts Network 1990-2001, which was edited by Howie Chen.

Shirts are only available on a made-to-order basis with a limited window for pre-orders. If you’d like to purchase this edition, please order before 6:00 pm on Friday, December 10. After this date, all orders will be closed and the edition will no longer be available. All orders will ship on or before January 3.

Click here to view all available t-shirt sizes.

The collective known as Godzilla: Asian American Art Network was formed in 1990 to support the production of critical discourse around Asian American art and increase the visibility of Asian American artists, curators, and writers, who were negotiating a historically exclusionary society and art world. Founded by Ken Chu, Bing Lee, and Margo Machida, Godzilla produced exhibitions, publications, and community collaborations that sought to stimulate social change through art and advocacy. For more than a decade, the diasporic group, having grown from a local organization into a nationwide network, confronted institutional racism, Western imperialism, anti-Asian violence, the AIDS crisis, and representations of Asian sexuality and gender, among other urgent issues.

T-shirt
Open Edition
December 2021


Designers: Stefani Mar, Helen Oji, Tony Wong, and Charles Yuen
Managing Designer (2021): William Bahan
Printer: Flying Saucer Press

 

Large

This limited-edition is a facsimile reproduction of a Godzilla t-shirt created and designed in 1993 by Stefani Mar, Helen Oji, Tony Wong, and Charles Yuen. It’s being produced by Primary Information to celebrate the recent publication of Godzilla: Asian American Arts Network 1990-2001, which was edited by Howie Chen.

Shirts are only available on a made-to-order basis with a limited window for pre-orders. If you’d like to purchase this edition, please order before 6:00 pm on Friday, December 10. After this date, all orders will be closed and the edition will no longer be available. All orders will ship on or before January 3.

Click here to view all available t-shirt sizes.

The collective known as Godzilla: Asian American Art Network was formed in 1990 to support the production of critical discourse around Asian American art and increase the visibility of Asian American artists, curators, and writers, who were negotiating a historically exclusionary society and art world. Founded by Ken Chu, Bing Lee, and Margo Machida, Godzilla produced exhibitions, publications, and community collaborations that sought to stimulate social change through art and advocacy. For more than a decade, the diasporic group, having grown from a local organization into a nationwide network, confronted institutional racism, Western imperialism, anti-Asian violence, the AIDS crisis, and representations of Asian sexuality and gender, among other urgent issues.

T-shirt
Open Edition
December 2021


Designers: Stefani Mar, Helen Oji, Tony Wong, and Charles Yuen
Managing Designer (2021): William Bahan
Printer: Flying Saucer Press

 

X-Large

This limited-edition is a facsimile reproduction of a Godzilla t-shirt created and designed in 1993 by Stefani Mar, Helen Oji, Tony Wong, and Charles Yuen. It’s being produced by Primary Information to celebrate the recent publication of Godzilla: Asian American Arts Network 1990-2001, which was edited by Howie Chen.

Shirts are only available on a made-to-order basis with a limited window for pre-orders. If you’d like to purchase this edition, please order before 6:00 pm on Friday, December 10. After this date, all orders will be closed and the edition will no longer be available. All orders will ship on or before January 3.

Click here to view all available t-shirt sizes.

The collective known as Godzilla: Asian American Art Network was formed in 1990 to support the production of critical discourse around Asian American art and increase the visibility of Asian American artists, curators, and writers, who were negotiating a historically exclusionary society and art world. Founded by Ken Chu, Bing Lee, and Margo Machida, Godzilla produced exhibitions, publications, and community collaborations that sought to stimulate social change through art and advocacy. For more than a decade, the diasporic group, having grown from a local organization into a nationwide network, confronted institutional racism, Western imperialism, anti-Asian violence, the AIDS crisis, and representations of Asian sexuality and gender, among other urgent issues.

T-shirt
Open Edition
December 2021


Designers: Stefani Mar, Helen Oji, Tony Wong, and Charles Yuen
Managing Designer (2021): William Bahan
Printer: Flying Saucer Press

 

Writings 1973–1983 on Works 1969–1979

Writings 1973–1983 on Works 1969–1979 is an essential document of a decade of formative work by Michael Asher. Originally published in 1983, the book presents 34 works through the artist’s writings, photographic documentation, architectural floor plans, exhibition announcements, and other ephemera.

Asher did not create traditional art objects; instead, he chose to alter the existing institutional apparatus through which art is presented, creating work dependent on the architectural, social, or economic systems that undergird how art is produced and experienced. For example, in 1974, he removed the partition wall dividing the office and gallery space of the Claire Copley Gallery in Los Angeles. In another work from 1978, Asher had a bronze replica of a nineteenth-century sculpture of George Washington moved from the exterior of the Art Institute of Chicago to a room in the museum that housed eighteenth-century art, changing its location, but also its function from a public monument to an indoor sculpture, as it was originally intended.

Due to its site specificity and immateriality, Asher’s work ceased to exist after an exhibition, which makes this highly sought-after book the definitive mode through which one can gain insight into the work he made during this period. As the artist states in the introduction: “This book as a finished product will have a material permanence that contradicts the actual impermanence of the art-work, yet paradoxically functions as a testimony to that impermanence of my production.”

Initiated by Kasper König, Writings 1973-1983 on Works 1969-1979 was originally co-published by the Press of the Nova Scotia College of Art and Design and the Museum of Contemporary Art, Los Angeles, and was largely shaped by Asher’s close collaboration with art historian Benjamin H.D. Buchloh, who succeeded König as editor of the press.

240 pages
8.5 x 12 inches
Paperback
Edition of 3500
October 2021
ISBN: 9781732098640

Managing Editor: James Hoff
Managing Designer: Rick Myers

 

Godzilla: Asian American Arts Network 1990-2001

Godzilla: Asian American Arts Network 1990–2001 is a comprehensive anthology of writings, art projects, publications, correspondence, organizational documents, and other archival ephemera from the trailblazing Asian artist collective. Edited by curator Howie Chen, this publication includes full essays and contextual material detailing the critical genealogies embodied by the group as well as its wide-ranging activities.

The collective known as Godzilla: Asian American Art Network was formed in 1990 to support the production of critical discourse around Asian American art and increase the visibility of Asian American artists, curators, and writers, who were negotiating a historically exclusionary society and art world. Founded by Ken Chu, Bing Lee, and Margo Machida, Godzilla produced exhibitions, publications, and community collaborations that sought to stimulate social change through art and advocacy. For more than a decade, the diasporic group, having grown from a local organization into a nationwide network, confronted institutional racism, Western imperialism, anti-Asian violence, the AIDS crisis, and representations of Asian sexuality and gender, among other urgent issues.

Godzilla created a social space for diasporic Asian artists and art professionals, including members Tomie Arai, Karin Higa, Byron Kim, Paul Pfeiffer, Eugenie Tsai, Alice Yang, Lynne Yamamoto, among others.  Envisioning a lateral and porous network, Godzilla was independently run by successive steering committees that included Diyan Achjadi, Tomie Arai, Todd Ayoung, Monica Chau, Debi-Ray Chaudhuri, China Blue, Allan deSouza, Skowmon Hastanan, Arlan Huang, Michi Itami, Jenni Kim, Franky Kong, Jeanette Louie, Yong Soon Min, Helen Oji, Sanda Zan Oo, Athena Robles, Carol Sun, Eugenie Tsai, Lynne Yamamoto, Rubina Yeh, and Charles Yuen.

552 Pages
9 x 12 inches
Paperback
Edition of 2500
November 2021
ISBN: 9781736534625

Editor: Howie Chen
Designer: Ella
Managing Editor: James Hoff
Copy Editor: Allison Dubinsky

Destroy All Monsters Painting

These mixed media paintings by Cary Loren were made for Destroy All Monsters Magazine, which we released in 2011. Each copy of the original book included a unique work, and Loren had 50 left over once the book was completed. These signed, 50 copies were made available to Primary Information as a fundraising edition.

8.5 x 11 inches
Painting
Edition of 50
October 2011

TOP

TOP is an artist book produced by Aram Saroyan in 1965. Unfolding across eight multi-color pages, the concrete poem represents a top that spins from slow to fast to slow as the reader moves through the book. The colors and letters (comprising an obliquely glimpsed word) change in accordance with each page to notate the speed of the spinning top. Produced as an accordion fold with taped seams, TOP can be read as a book or unfolded to stand on a shelf or table.

The original publication was printed on the off-set press at Academy Typing Service, owned and managed by the painter Virginia Admiral, the ex-wife of painter Robert De Niro, Sr. and mother of the actor. The press run, while projected to be 300 copies, was truncated at “around sixty” for reasons, says Saroyan, “no longer ascertainable.”

In 2021, Primary Information and the artist decided to finish the edition, producing a facsimile edition of 240 copies. All are signed and numbered (beginning with 61).

Aram Saroyan is a writer well known for his early minimalist, conceptual, and Concrete poetry of the 1960s. Over the course of the last six decades, Saroyan has written over 30 books in a variety of forms including several novels, memoirs, plays, long- and short-form journalism, and essays, garnering awards and esteemed grants along the way. Since the initial publication of Complete Minimal Poemsin 2008, Saroyan has begun producing new works in minimal and conceptual form, which have found new audiences in the art world. His work was included in the Made in L.A.exhibition at the Hammer Museum in 2016, for which he contributed the subtitle a, the, though, only.

10 Pages
8 x 5 inches
Paperback
Color
Edition of 240
September 2021

Managing Editor: James Hoff
Managing Designer: Rick Myers

 

Note(s): Work(ing) Process(es) Re: Concerns (That Take On / Deal With)

Originally created in 1977 as a single handmade copy, Dara Birnbaum’s Note(s): Work(ing) Process(es) Re: Concerns (That Take On / Deal With) gathers writings, working drawings, photographic documentation, and ephemera from the artist’s earliest video and installation works. The publication was originally produced by Birnbaum and exhibited in Notebooks, Workbooks, Scripts, and Scores at Franklin Furnace in 1977. The book’s vinyl cover and section dividers, hand-folded pages, and color images have all been reproduced, and Alex Kitnick provides a new introduction.

Note(s) provides a rare look into Birnbaum’s early investigations of video art and its relationship to television. Her work of this period orchestrates a complex circuit of viewership and representation, in which her interest in psychoanalytic concepts—projective identification, regression, resistance, and intersubjectivity—are analyzed in tandem with the formal and interpersonal politics of image making. These investigations lay the groundwork for the artist’s breakthrough works, such as Technology/Transformation: Wonder Woman and Kiss the Girls: Make Them Cry, in which she appropriates popular television programs to critique the language and images of networked television.

Featured works include Back Piece (1975), Attack Piece (1975), Mirroring (1975), Liberty: A Dozen or So Views (1976), Relationship Perspectives: Perspective Relationships (1976–77), America: Land of Contrasts (A Day of Awakening) (A Shot in the Dark) (1976–77), Pivot: Turning Around Suppositions (1976), and Lesson Plans to Keep the Revolution Alive (1977).

Dara Birnbaum was born in New York City in 1946, and studied architecture at Carnegie Mellon University and painting at the San Francisco Art Institute. Recognized as one of the first artists to manipulate television footage to “talk back to the media,” Birnbaum enlists video technology and mass media images to deconstruct and redefine cultural, personal, and historical mythologies. Drawing from critical theory, literature, and feminist thought, Birnbaum matrixes film techniques such as dramatic wipes and layered images onto works that are deeply introspective and experiential. Her work has been widely exhibited, including at MoMA PS1, New York (2019); National Portrait Gallery, London (2018); the Cleveland Museum of Art, Ohio (2018); the Museum of Modern Art, New York (2008); and the Kunsthalle Wien, Vienna, Austria (2006).

434 pages
8.5 x 11 inches
Paperback
Edition of 2500
August 2021
ISBN: 9781734489774

Managing Editor: James Hoff
Managing Designer: Rick Myers

Destroy All Monsters Painting

These mixed media paintings by Cary Loren were made for Destroy All Monsters Magazine, which we released in 2011. Each copy of the original book included a unique work, and Loren had 50 left over once the book was completed. These signed, 50 copies were made available to Primary Information as a fundraising edition.

8.5 x 11 inches
Painting
Edition of 50
October 2011

Note(s): Work(ing) Process(es) Re: Concerns (That Take On / Deal With) (Limited Edition)

This limited edition of Dara Birnbaum’s Note(s): Work(ing) Process(es) Re: Concerns (That Take On / Deal With) is published in an edition of 100 and includes a new dust jacket signed and numbered by the artist. The front and back covers of the dust jacket each feature a unique black-and-white photograph that extends onto the jacket’s inner flaps. Taken by the artist in 1975, these images are from her first installation, Back Piece, which is also featured in the publication.

Originally created in 1977 as a single handmade copy, Dara Birnbaum’s Note(s): Work(ing) Process(es) Re: Concerns (That Take On / Deal With) gathers writings, working drawings, photographic documentation, and ephemera from the artist’s earliest video and installation works. The publication was originally produced by Birnbaum and exhibited in Notebooks, Workbooks, Scripts, and Scores at Franklin Furnace in 1977. The book’s vinyl cover and section dividers, hand-folded pages, and color images have all been reproduced, and Alex Kitnick provides a new introduction.

Note(s) provides a rare look into Birnbaum’s early investigations of video art and its relationship to television. Her work of this period orchestrates a complex circuit of viewership and representation, in which her interest in psychoanalytic concepts—projective identification, regression, resistance, and intersubjectivity—are analyzed in tandem with the formal and interpersonal politics of image making. These investigations lay the groundwork for the artist’s breakthrough works, such as Technology/Transformation: Wonder Woman and Kiss the Girls: Make Them Cry, in which she appropriates popular television programs to critique the language and images of networked television.

Featured works include Back Piece (1975), Attack Piece (1975), Mirroring (1975), Liberty: A Dozen or So Views (1976), Relationship Perspectives: Perspective Relationships (1976–77), America: Land of Contrasts (A Day of Awakening) (A Shot in the Dark) (1976–77), Pivot: Turning Around Suppositions (1976), and Lesson Plans to Keep the Revolution Alive (1977).

Dara Birnbaum was born in New York City in 1946, and studied architecture at Carnegie Mellon University and painting at the San Francisco Art Institute. Recognized as one of the first artists to manipulate television footage to “talk back to the media,” Birnbaum enlists video technology and mass media images to deconstruct and redefine cultural, personal, and historical mythologies. Drawing from critical theory, literature, and feminist thought, Birnbaum matrixes film techniques such as dramatic wipes and layered images onto works that are deeply introspective and experiential. Her work has been widely exhibited, including at MoMA PS1, New York (2019); National Portrait Gallery, London (2018); the Cleveland Museum of Art, Ohio (2018); the Museum of Modern Art, New York (2008); and the Kunsthalle Wien, Vienna, Austria (2006).

434 pages
8.5 x 11 inches
Paperback
Edition of 100
August 2021
ISBN: 9781734489774

Destroy All Monsters Painting

These mixed media paintings by Cary Loren were made for Destroy All Monsters Magazine, which we released in 2011. Each copy of the original book included a unique work, and Loren had 50 left over once the book was completed. These signed, 50 copies were made available to Primary Information as a fundraising edition.

8.5 x 11 inches
Painting
Edition of 50
October 2011

Destroy All Monsters Painting

These mixed media paintings by Cary Loren were made for Destroy All Monsters Magazine, which we released in 2011. Each copy of the original book included a unique work, and Loren had 50 left over once the book was completed. These signed, 50 copies were made available to Primary Information as a fundraising edition.

8.5 x 11 inches
Painting
Edition of 50
October 2011

Destroy All Monsters Painting

These mixed media paintings by Cary Loren were made for Destroy All Monsters Magazine, which we released in 2011. Each copy of the original book included a unique work, and Loren had 50 left over once the book was completed. These signed, 50 copies were made available to Primary Information as a fundraising edition.

8.5 x 11 inches
Painting
Edition of 50
October 2011

Destroy All Monsters Painting

These mixed media paintings by Cary Loren were made for Destroy All Monsters Magazine, which we released in 2011. Each copy of the original book included a unique work, and Loren had 50 left over once the book was completed. These signed, 50 copies were made available to Primary Information as a fundraising edition.

8.5 x 11 inches
Painting
Edition of 50
October 2011

Destroy All Monsters Painting

These mixed media paintings by Cary Loren were made for Destroy All Monsters Magazine, which we released in 2011. Each copy of the original book included a unique work, and Loren had 50 left over once the book was completed. These signed, 50 copies were made available to Primary Information as a fundraising edition.

8.5 x 11 inches
Painting
Edition of 50
October 2011

Destroy All Monsters Painting

These mixed media paintings by Cary Loren were made for Destroy All Monsters Magazine, which we released in 2011. Each copy of the original book included a unique work, and Loren had 50 left over once the book was completed. These signed, 50 copies were made available to Primary Information as a fundraising edition.

8.5 x 11 inches
Painting
Edition of 50
October 2011

Liturgy

Liturgy is a journey into the uncanny realm of the senses that dives into histories of perception and intuition. The artist Flora Yin-Wong deploys a variety of images and texts to explore issues related to cosmic principles, conspiracies, and parallel universes. The result is a constellatory work filled with religion, dreams, and fragmented memories and knowledge that also gestures at the artist’s own history. The book’s chapters—Rituals & Fire; Omens; Hexagrams / Oracles; Curses; Gods & Creatures; Places Doors to Hell / Ghost Cities; Paradoxes; Sound Phenomena; Reality—function like a secret dossier inflected with flights of fantasy, speaking to systems of faith and language and its corruptions.

Divining inspiration from meditation, oracles, curses, hexagrams, Cantonese traditions, and superstitions, Liturgy interweaves textual and visual collage to create a multi-layered tonality. Reflected here is the multidisciplinary artist’s interest in the web between fiction, memory, rituals, and incantation, as well as her approach to sound.

Flora Yin-Wong is a London–born, Chinese-Malaysian writer, producer, and DJ who has released material on the labels Modern Love and PAN. Her sonic work uses traditional instruments, software processing, and text-based storytelling, and has been performed at venues including ISSUE Project Room (New York), the Victoria & Albert Museum (London), Volksbühne Theater (Berlin), and Berghain (Berlin).

120 pages
4.31 x 7.12 inches
Paperback
Edition of 2200
June 2021
ISBN: 9781736534601

Co-Published with PAN
Managing Editors: James Hoff and Bill Kouligas
Designers: NMR
Copy Editor: Allison Dubinsky

Theatre

Theatre is an artist book that documents seven early performances by Dan Graham taking place from 1969 to 1977 with notes, transcripts, or photographs for each work. Originally published in 1978, and produced here in facsimile form, the publication focuses on several key works that interrogate or undermine the psychological and social space created by, or between, individuals inside the performance venue.

Like most of Graham’s work, they also serve as a critique of cultural norms, with many of the performances utilizing quotidian, social acts that are amplified over time. For example, in Lax/Relax (1969), Graham’s subversion of West Coast new ageism, the artist chants “relax” in sync with a recording of a woman saying “lax” in a meditative manner, which implicates the audience into a group breathing exercise or hypnosis over the course of 30 minutes.

Throughout the ’70s, the artist engaged in a series of works that subverted the prescribed roles of the audience and performer by creating conditions in which each simultaneously functions as both (creating a type of feedback loop). Remarking on another work form this period, Graham once stated, “It begins with Minimal Art, but it’s about spectators observing themselves as they’re observed by other people.”* This paradigm is extended even further in Performer/Audience Sequence (1975) and Performer/Audience Mirror (1977), in which the artist performs by describing the audience as well as himself, creating conditions whereby the audience is performing for the artist as well as themselves.

Like (1971), Past Future Split Attention (1972), and Identification Projection (1977) are also featured in the publication.

Dan Graham is an artist based in New York. Since the 1960s, he has produced a wide range of work and writing that engages in a highly analytical discourse on the historical, social, and ideological functions of contemporary cultural systems. Architecture, popular music, video, and television are among the focuses of his investigations, which he articulates through essays, performances, installations, videotapes, and architectural/sculptural designs.

52 pages
5.8 x 8.2 inches
Paperback
Edition of 2500
May 2021
ISBN: 9781736534632

Managing Editor: James Hoff
Managing Designer: Rick Myers

* Dan Graham and Rodney Graham, Dan Graham Interviewed by Rodney Graham,in Dan Graham: Beyond, ed. by Bennet Simpson and Chrissie Iles, (MIT Press, 2009), 96.

The Matrix Poems: 1960-1970

The Matrix by Norman H. Pritchard (1939–1996) gathers a selection of the Concrete and Black Arts poet’s work from 1960 to 1970. The seventy-one poems collected here might be regarded, as Charles Bernstein has written, as “sound” poems, being tethered not only to the literature of the Black Arts Movement but also to jazz culture and urban life in New York. Drawing as much from the visual arts and concrete poetry as from sound-based experimentation and music, Pritchard utilized the simple tools of spacing and typography to create syncopations, vibrations, and musical rhythms. What emerges is nothing less than a self-contained system of mimetic codes that challenge modernist modes of perception and representation. Formally innovative and anticipating what Michael Riffaterre would come to call the semiotics of “ungrammaticalities,” the book is a syntactical and visual experience in repetition, stutters, and structure. 

Born and based in New York City, Pritchard was trained in visual arts and art history at New York University and Columbia University. As a member of the Umbra group (1962–65)—a collective of young Black writers that included Steve Cannon, Thomas C. Dent, David Henderson, Calvin Hernton, and Lorenzo Thomas—he met with fellow members in Manhattan’s Lower East Side to read and discuss writing and politics. They channeled their sense of urgency in developing and promoting Black culture into the literary magazine Umbra. Following the group’s dissolution, Pritchard continued to be involved in New York’s art, music, and film worlds in the late 1960s. The Matrix was published by Doubleday in 1970, marking one of only a handful of books on concrete poetry to be published by a major American publishing house. His second and final book Eecchhooeess was released by New York University Press in 1971.  

If Pritchard’s work testifies to the Black poetics of “broken witnessing,” it is also deeply philosophical and spiritual. “I feel that there’s only one reality, and that reality is God,” says Pritchard in an unpublished video from 1981. “Everything else is actual—or what I call ‘transreal.’ In other words, everything is transreal except God. Trans meaning through, across, within, into within.” In a 1969 letter to fellow Umbra member Ishmael Reed, Pritchard writes: “Transreal is a word which visited me in the fall of 1967 while making initial probes into a book which I call Origins: A Contribution to the Monophysiticy of Form. My ‘definition’ is: Transrealism = O.” 

While leaving it open to interpretation, “transrealism” was a vector through which Pritchard organized a host of collaborations—in March 1972, for instance, the poet hosted an event in New York called “The End of Intelligent Writing: A Transreal Awakening,” which featured artists such as Vito Acconci, W. Bliem Kern, and Richard Kostelanetz. Describing Pritchard’s work in terms of “ironic materiality,” Reed has remarked: “At the limit, Pritchard’s self-undermining poems ask us whether poetry needs words at all.” Indeed, his is a poetics of both anti-transcendence and revelation.

Norman Henry Pritchard was born in New York City in 1939 and studied at New York University and Columbia University. His work has been published in two collections: The Matrix Poems: 1960–1970 (1970) and Eecchhooeess (1971). His poetry was featured in the journals Umbra and The East Village Other, performed on the jazz poetry compilation New Jazz Poets (1967), and anthologized in The New Black Poetry (1969) and In a Time of Revolution: Poems from Our Third World (1969). Pritchard taught poetry at the New School for Social Research and was a poet-in-residence at Friends Seminary. He died in eastern Pennsylvania on February 8, 1996.

224 pages
5.4 x 8.2 inches
Paperback
Edition of 3000
March 2021
ISBN: 9781734489798

Co-Published with Ugly Duckling Presse
Managing Editors: James Hoff and Matvei Yankelevich

Work 1961-73 (Limited Edition)

This publication is a limited edition of Work 1961-73. Each publication is signed by Yvonne Rainer and comes with two 5 x 7″ prints. The first photograph documents Steve Paxton performing in Parts of Some Sextets in 1965 at Judson Church in New York City and the second features Emily Coates, Timothy Ward, and Jon Kinzel performing in Parts of Some Sextets as part of the Performa 2019 Biennial at Gelsey Kirkland Arts Center in Brooklyn.

Originally published in 1974 by the Nova Scotia College of Art and Design, Yvonne Rainer’s Work 1961-73 documents the artist’s landmark early works at the intersection of dance, performance, and art. The publication provides multifaceted insight into some of the artist’s most celebrated choreographic works, including Terrain (1962), Trio A (1966), Continuous Project-Altered Daily (1970), War (1970), Street Action (1970), and This is the story of a woman who … (1973)among many others.

Assembled ostensibly as a survey, Work 1961-73 features a multitude of documentary forms, including scripts, excerpts from the artist’s notebooks, press reviews, correspondence, photographic documentation, literary excerpts, contextualizing texts by the artist, diagrams, film stills, floor plans, scores, and more. As such, the publication resembles an artist book that generously gives the reader access to Rainer’s modes of working, as well as the social and political context around which the work was made. The publication is also a book of writing, with the artist’s frank, witty, and sometimes humorous prose intimately leading the reader through each work.

As the artist states in the book’s introduction:

I have a longstanding infatuation with language, a not-easily assailed conviction that it, above all else, offers a key to clarity. Not that it can replace experience, but rather holds a mirror to our experience, give us distance when we need it. So here I am, in a sense, trying to ‘replace’ my performances with a book, greedily pushing language to clarify what already was clear in other terms. But, alas, gone. This has seemed one good reason to compile a book ‘out of’ the remains of my performances, letting the language fall where it may. Let it be said simply “She usually makes performances and has also made a book.”

Work 1961-73 is an indispensable publication for anyone interested in the artist and the radical developments in dance and performance in the 1960s.

Yvonne Rainer (b. 1934) is a dancer, choreographer, writer, and filmmaker. She is a co-founding member of the Judson Dance Theater and worked primarily as a dancer and choreographer from the early 1960s through the early 1970s. Her choreographic work is widely recognized for blurring the lines between performers and non-performers, incorporating gestural and pedestrian movements, as well as classical dance steps and theatre. In 1972, Rainer began making films, producing seven experimental features, including Lives of Performers (1972), Privilege (1990), and MURDER and murder (1996). She returned to dance in 2000, producing new works commissioned by the Baryshnikov Dance Foundation, the Performa Biennial, and The Museum of Modern Art. She is the author of several books including Feelings Are Facts: A Life (2006), A Woman Who…: Essays, Interviews, Scripts (1999), and Poems (2012). She is the recipient of a MacArthur Fellowship, two Guggenheim Awards, The Foundation for Contemporary Art’s Merce Cunningham Award, and a USA Grant.

Work 1961-73 signed by Yvonne Rainer
346 pages
7.75 x 10 inches
Paperback
Edition of 50
November 2020

Parts of Some Sextets with Steve Paxton by Phil MacMullan (unsigned)
5 x 7 inches
Digital print
Edition of 50
November 2020

Parts of Some Sextets with Emily Coates, Timothy Ward, and Jon Kinzel (unsigned)
5 x 7 inches
Digital print
Edition of 50
November 2020