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Books and Writings by Artists
Women in Concrete Poetry: 1959–1979 is out now!
This expansive anthology focuses on concrete poetry written by women in the groundbreaking movement’s early history, featuring fifty writers and artists from Europe, Japan, Latin America, and the US selected by editors Alex Balgiu and Mónica de la Torre.
The publication takes as its point of departure “Materializzazione del linguaggio”—the groundbreaking exhibition of visual and concrete poetry by women curated by Italian feminist artist Mirella Bentivoglio for the Venice Biennale in 1978. Bentivoglio’s curation traced constellations of women artists working at the intersection of the verbal and visual who sought to “reactivate the atrophied tools of communication” and liberate words from the conventions of genre, gender, and the strictures of the patriarchy and normative syntax.
Artists and writers include Lenora de Barros, Ana Bella Geiger, and Mira Schendel from Brazil; Mirella Bentivoglio, Tomaso Binga, Liliana Landi, Anna Oberto, and Giovanna Sandri from Italy; Amanda Berenguer from Uruguay; Suzanne Bernard and Ilse Garnier from France; Blanca Calparsoro from Spain; Paula Claire and Jennifer Pike from the UK; Betty Danon from Turkey; Mirtha Dermisache from Argentina; Bohumila Grögerová from the Czech Republic; Ana Hatherly and Salette Tavares from Portugal; Madeline Gins, Susan Howe, Liliane Lijn, Mary Ellen Solt, and Rosmarie Waldrop from the US; Irma Blank and Ruth Wolf-Rehfeldt from Germany; Chima Sunada from Japan; and Katalin Ladik and Bogdanka Poznanović from the former Yugoslavia.
Women in Concrete Poetry: 1959–1979 is 488 pages, measures 8 x 9 inches, and retails for $35.00.
Editors: Alex Balgiu and Mónica de la Torre
Managing Editor: James Hoff
Designer: Scott Ponik
@designingwriting @m_de_la_t @_james_hoff
fierce pussy was formed in 1991 as a lesbian offshoot of ACT UP, with members joining from the larger organization’s weekly Monday night meetings. A call was made at the ACT UP assembly at the Cooper Union Great Hall for dykes to meet at Zoe Leonard’s apartment, and the “fluid and often-shifting cadre” of lesbian members thus formed. In addition to aiding the important work of AIDS activism, the members of fierce pussy sought to center lesbian visibility, outside of the overwhelming contemporaneous focus on the male body. fierce pussy functions as a single entity; as members have come and gone, the collective still speaks as one.
One of the first rules of fierce pussy was that a poster be designed at each meeting and wheatpasted around the city at the next. Core members Nancy Brooks Brody, Joy Episalla, Zoe Leonard, and Carrie Yamaoka photocopied hundreds of posters at their day jobs at Condé Nast. The collective’s first “List” poster (“I AM A . . . AND PROUD”) was created at the very first meeting. Next, fierce pussy produced a series of posters with their own baby photos accompanied by derogatory terms for lesbians. When plastered over the walls of New York City, these first posters served as signaling devices to other lesbians walking the streets of the city, centering them in a narrative of reclamation and celebration.
fierce pussy was formed in 1991 as a lesbian offshoot of ACT UP, with members joining from the larger organization’s weekly Monday night meetings. A call was made at the ACT UP assembly at the Cooper Union Great Hall for dykes to meet at Zoe Leonard’s apartment, and the “fluid and often-shifting cadre” of lesbian members thus formed. In addition to aiding the important work of AIDS activism, the members of fierce pussy sought to center lesbian visibility, outside of the overwhelming contemporaneous focus on the male body. fierce pussy functions as a single entity; as members have come and gone, the collective still speaks as one.
One of the first rules of fierce pussy was that a poster be designed at each meeting and wheatpasted around the city at the next. Core members Nancy Brooks Brody, Joy Episalla, Zoe Leonard, and Carrie Yamaoka photocopied hundreds of posters at their day jobs at Condé Nast. The collective’s first “List” poster (“I AM A . . . AND PROUD”) was created at the very first meeting. Next, fierce pussy produced a series of posters with their own baby photos accompanied by derogatory terms for lesbians. When plastered over the walls of New York City, these first posters served as signaling devices to other lesbians walking the streets of the city, centering them in a narrative of reclamation and celebration.
fierce pussy was formed in 1991 as a lesbian offshoot of ACT UP, with members joining from the larger organization’s weekly Monday night meetings. A call was made at the ACT UP assembly at the Cooper Union Great Hall for dykes to meet at Zoe Leonard’s apartment, and the “fluid and often-shifting cadre” of lesbian members thus formed. In addition to aiding the important work of AIDS activism, the members of fierce pussy sought to center lesbian visibility, outside of the overwhelming contemporaneous focus on the male body. fierce pussy functions as a single entity; as members have come and gone, the collective still speaks as one.
One of the first rules of fierce pussy was that a poster be designed at each meeting and wheatpasted around the city at the next. Core members Nancy Brooks Brody, Joy Episalla, Zoe Leonard, and Carrie Yamaoka photocopied hundreds of posters at their day jobs at Condé Nast. The collective’s first “List” poster (“I AM A . . . AND PROUD”) was created at the very first meeting. Next, fierce pussy produced a series of posters with their own baby photos accompanied by derogatory terms for lesbians. When plastered over the walls of New York City, these first posters served as signaling devices to other lesbians walking the streets of the city, centering them in a narrative of reclamation and celebration.
We are pleased to announce that Women in Concrete Poetry: 1959–1979 is back in print!
This expansive anthology focuses on concrete poetry written by women in the groundbreaking movement’s early history, featuring fifty writers and artists from Europe, Japan, Latin America, and the US selected by editors Alex Balgiu and Mónica de la Torre.�
The publication takes as its point of departure "Materializzazione del linguaggio"—the groundbreaking exhibition of visual and concrete poetry by women curated by Italian feminist artist Mirella Bentivoglio for the Venice Biennale in 1978. Bentivoglio's curation traced constellations of women artists working at the intersection of the verbal and visual who sought to “reactivate the atrophied tools of communication” and liberate words from the conventions of genre, gender, and the strictures of the patriarchy and normative syntax.�
The works in this volume evolved from previous manifestations of concrete poetry as defined in foundational manifestos by Öyvind Fahlström, Eugen Gomringer, and the Brazilian Noigandres group. While some works are easily recognized as concrete poetry, as documented in canonical anthologies edited by Mary Ellen Solt and Emmett Williams in the late ’60s, the book also features expansive serial works that are overtly feminist and often trouble legibility.
Women in Concrete Poetry: 1959–1979 is 488 pages, measures 8 x 9 inches, and retails for $35.00.
Image captions:
1: Lenora de Barros, Poema
2. Mirella Bentivoglio, Gabbia (Ho)
3. Tomaso Binga, Selections from Dattilocodice
4. Mirtha Dermisache, Diario No. 1 Año 1
5. Annalies Klophaus, Selections from Mot-Couleur-Roman
6. Liliane Lijn, Mind Home (Neurographs) and Easy Does It (Neurographs)
7. Jennifer Pike, Wump Ertater, A Number Progression
8. Mary Ellen Solt, Marriage Poem
9. Biljana Tomić, Typoezija
10. Hannah Weiner, Selections from Signal Flag Poems
Editors: Alex Balgiu and Mónica de la Torre
Managing Editor: James Hoff
Designer: Scott Ponik
Product shots by: @naokomaeda
@designingwriting @m_de_la_t @_james_hoff
We are pleased to announce that Women in Concrete Poetry: 1959–1979 is back in print!
This expansive anthology focuses on concrete poetry written by women in the groundbreaking movement’s early history, featuring fifty writers and artists from Europe, Japan, Latin America, and the US selected by editors Alex Balgiu and Mónica de la Torre.�
The publication takes as its point of departure "Materializzazione del linguaggio"—the groundbreaking exhibition of visual and concrete poetry by women curated by Italian feminist artist Mirella Bentivoglio for the Venice Biennale in 1978. Bentivoglio's curation traced constellations of women artists working at the intersection of the verbal and visual who sought to “reactivate the atrophied tools of communication” and liberate words from the conventions of genre, gender, and the strictures of the patriarchy and normative syntax.�
The works in this volume evolved from previous manifestations of concrete poetry as defined in foundational manifestos by Öyvind Fahlström, Eugen Gomringer, and the Brazilian Noigandres group. While some works are easily recognized as concrete poetry, as documented in canonical anthologies edited by Mary Ellen Solt and Emmett Williams in the late ’60s, the book also features expansive serial works that are overtly feminist and often trouble legibility.
Women in Concrete Poetry: 1959–1979 is 488 pages, measures 8 x 9 inches, and retails for $35.00.
Image captions:
1: Lenora de Barros, Poema
2. Mirella Bentivoglio, Gabbia (Ho)
3. Tomaso Binga, Selections from Dattilocodice
4. Mirtha Dermisache, Diario No. 1 Año 1
5. Annalies Klophaus, Selections from Mot-Couleur-Roman
6. Liliane Lijn, Mind Home (Neurographs) and Easy Does It (Neurographs)
7. Jennifer Pike, Wump Ertater, A Number Progression
8. Mary Ellen Solt, Marriage Poem
9. Biljana Tomić, Typoezija
10. Hannah Weiner, Selections from Signal Flag Poems
Editors: Alex Balgiu and Mónica de la Torre
Managing Editor: James Hoff
Designer: Scott Ponik
Product shots by: @naokomaeda
@designingwriting @m_de_la_t @_james_hoff
We are pleased to announce that Women in Concrete Poetry: 1959–1979 is back in print!
This expansive anthology focuses on concrete poetry written by women in the groundbreaking movement’s early history, featuring fifty writers and artists from Europe, Japan, Latin America, and the US selected by editors Alex Balgiu and Mónica de la Torre.�
The publication takes as its point of departure "Materializzazione del linguaggio"—the groundbreaking exhibition of visual and concrete poetry by women curated by Italian feminist artist Mirella Bentivoglio for the Venice Biennale in 1978. Bentivoglio's curation traced constellations of women artists working at the intersection of the verbal and visual who sought to “reactivate the atrophied tools of communication” and liberate words from the conventions of genre, gender, and the strictures of the patriarchy and normative syntax.�
The works in this volume evolved from previous manifestations of concrete poetry as defined in foundational manifestos by Öyvind Fahlström, Eugen Gomringer, and the Brazilian Noigandres group. While some works are easily recognized as concrete poetry, as documented in canonical anthologies edited by Mary Ellen Solt and Emmett Williams in the late ’60s, the book also features expansive serial works that are overtly feminist and often trouble legibility.
Women in Concrete Poetry: 1959–1979 is 488 pages, measures 8 x 9 inches, and retails for $35.00.
Image captions:
1: Lenora de Barros, Poema
2. Mirella Bentivoglio, Gabbia (Ho)
3. Tomaso Binga, Selections from Dattilocodice
4. Mirtha Dermisache, Diario No. 1 Año 1
5. Annalies Klophaus, Selections from Mot-Couleur-Roman
6. Liliane Lijn, Mind Home (Neurographs) and Easy Does It (Neurographs)
7. Jennifer Pike, Wump Ertater, A Number Progression
8. Mary Ellen Solt, Marriage Poem
9. Biljana Tomić, Typoezija
10. Hannah Weiner, Selections from Signal Flag Poems
Editors: Alex Balgiu and Mónica de la Torre
Managing Editor: James Hoff
Designer: Scott Ponik
Product shots by: @naokomaeda
@designingwriting @m_de_la_t @_james_hoff
We are pleased to announce that Women in Concrete Poetry: 1959–1979 is back in print!
This expansive anthology focuses on concrete poetry written by women in the groundbreaking movement’s early history, featuring fifty writers and artists from Europe, Japan, Latin America, and the US selected by editors Alex Balgiu and Mónica de la Torre.�
The publication takes as its point of departure "Materializzazione del linguaggio"—the groundbreaking exhibition of visual and concrete poetry by women curated by Italian feminist artist Mirella Bentivoglio for the Venice Biennale in 1978. Bentivoglio's curation traced constellations of women artists working at the intersection of the verbal and visual who sought to “reactivate the atrophied tools of communication” and liberate words from the conventions of genre, gender, and the strictures of the patriarchy and normative syntax.�
The works in this volume evolved from previous manifestations of concrete poetry as defined in foundational manifestos by Öyvind Fahlström, Eugen Gomringer, and the Brazilian Noigandres group. While some works are easily recognized as concrete poetry, as documented in canonical anthologies edited by Mary Ellen Solt and Emmett Williams in the late ’60s, the book also features expansive serial works that are overtly feminist and often trouble legibility.
Women in Concrete Poetry: 1959–1979 is 488 pages, measures 8 x 9 inches, and retails for $35.00.
Image captions:
1: Lenora de Barros, Poema
2. Mirella Bentivoglio, Gabbia (Ho)
3. Tomaso Binga, Selections from Dattilocodice
4. Mirtha Dermisache, Diario No. 1 Año 1
5. Annalies Klophaus, Selections from Mot-Couleur-Roman
6. Liliane Lijn, Mind Home (Neurographs) and Easy Does It (Neurographs)
7. Jennifer Pike, Wump Ertater, A Number Progression
8. Mary Ellen Solt, Marriage Poem
9. Biljana Tomić, Typoezija
10. Hannah Weiner, Selections from Signal Flag Poems
Editors: Alex Balgiu and Mónica de la Torre
Managing Editor: James Hoff
Designer: Scott Ponik
Product shots by: @naokomaeda
@designingwriting @m_de_la_t @_james_hoff
We are pleased to announce that Women in Concrete Poetry: 1959–1979 is back in print!
This expansive anthology focuses on concrete poetry written by women in the groundbreaking movement’s early history, featuring fifty writers and artists from Europe, Japan, Latin America, and the US selected by editors Alex Balgiu and Mónica de la Torre.�
The publication takes as its point of departure "Materializzazione del linguaggio"—the groundbreaking exhibition of visual and concrete poetry by women curated by Italian feminist artist Mirella Bentivoglio for the Venice Biennale in 1978. Bentivoglio's curation traced constellations of women artists working at the intersection of the verbal and visual who sought to “reactivate the atrophied tools of communication” and liberate words from the conventions of genre, gender, and the strictures of the patriarchy and normative syntax.�
The works in this volume evolved from previous manifestations of concrete poetry as defined in foundational manifestos by Öyvind Fahlström, Eugen Gomringer, and the Brazilian Noigandres group. While some works are easily recognized as concrete poetry, as documented in canonical anthologies edited by Mary Ellen Solt and Emmett Williams in the late ’60s, the book also features expansive serial works that are overtly feminist and often trouble legibility.
Women in Concrete Poetry: 1959–1979 is 488 pages, measures 8 x 9 inches, and retails for $35.00.
Image captions:
1: Lenora de Barros, Poema
2. Mirella Bentivoglio, Gabbia (Ho)
3. Tomaso Binga, Selections from Dattilocodice
4. Mirtha Dermisache, Diario No. 1 Año 1
5. Annalies Klophaus, Selections from Mot-Couleur-Roman
6. Liliane Lijn, Mind Home (Neurographs) and Easy Does It (Neurographs)
7. Jennifer Pike, Wump Ertater, A Number Progression
8. Mary Ellen Solt, Marriage Poem
9. Biljana Tomić, Typoezija
10. Hannah Weiner, Selections from Signal Flag Poems
Editors: Alex Balgiu and Mónica de la Torre
Managing Editor: James Hoff
Designer: Scott Ponik
Product shots by: @naokomaeda
@designingwriting @m_de_la_t @_james_hoff
We are pleased to announce that Women in Concrete Poetry: 1959–1979 is back in print!
This expansive anthology focuses on concrete poetry written by women in the groundbreaking movement’s early history, featuring fifty writers and artists from Europe, Japan, Latin America, and the US selected by editors Alex Balgiu and Mónica de la Torre.�
The publication takes as its point of departure "Materializzazione del linguaggio"—the groundbreaking exhibition of visual and concrete poetry by women curated by Italian feminist artist Mirella Bentivoglio for the Venice Biennale in 1978. Bentivoglio's curation traced constellations of women artists working at the intersection of the verbal and visual who sought to “reactivate the atrophied tools of communication” and liberate words from the conventions of genre, gender, and the strictures of the patriarchy and normative syntax.�
The works in this volume evolved from previous manifestations of concrete poetry as defined in foundational manifestos by Öyvind Fahlström, Eugen Gomringer, and the Brazilian Noigandres group. While some works are easily recognized as concrete poetry, as documented in canonical anthologies edited by Mary Ellen Solt and Emmett Williams in the late ’60s, the book also features expansive serial works that are overtly feminist and often trouble legibility.
Women in Concrete Poetry: 1959–1979 is 488 pages, measures 8 x 9 inches, and retails for $35.00.
Image captions:
1: Lenora de Barros, Poema
2. Mirella Bentivoglio, Gabbia (Ho)
3. Tomaso Binga, Selections from Dattilocodice
4. Mirtha Dermisache, Diario No. 1 Año 1
5. Annalies Klophaus, Selections from Mot-Couleur-Roman
6. Liliane Lijn, Mind Home (Neurographs) and Easy Does It (Neurographs)
7. Jennifer Pike, Wump Ertater, A Number Progression
8. Mary Ellen Solt, Marriage Poem
9. Biljana Tomić, Typoezija
10. Hannah Weiner, Selections from Signal Flag Poems
Editors: Alex Balgiu and Mónica de la Torre
Managing Editor: James Hoff
Designer: Scott Ponik
Product shots by: @naokomaeda
@designingwriting @m_de_la_t @_james_hoff
We are pleased to announce that Women in Concrete Poetry: 1959–1979 is back in print!
This expansive anthology focuses on concrete poetry written by women in the groundbreaking movement’s early history, featuring fifty writers and artists from Europe, Japan, Latin America, and the US selected by editors Alex Balgiu and Mónica de la Torre.�
The publication takes as its point of departure "Materializzazione del linguaggio"—the groundbreaking exhibition of visual and concrete poetry by women curated by Italian feminist artist Mirella Bentivoglio for the Venice Biennale in 1978. Bentivoglio's curation traced constellations of women artists working at the intersection of the verbal and visual who sought to “reactivate the atrophied tools of communication” and liberate words from the conventions of genre, gender, and the strictures of the patriarchy and normative syntax.�
The works in this volume evolved from previous manifestations of concrete poetry as defined in foundational manifestos by Öyvind Fahlström, Eugen Gomringer, and the Brazilian Noigandres group. While some works are easily recognized as concrete poetry, as documented in canonical anthologies edited by Mary Ellen Solt and Emmett Williams in the late ’60s, the book also features expansive serial works that are overtly feminist and often trouble legibility.
Women in Concrete Poetry: 1959–1979 is 488 pages, measures 8 x 9 inches, and retails for $35.00.
Image captions:
1: Lenora de Barros, Poema
2. Mirella Bentivoglio, Gabbia (Ho)
3. Tomaso Binga, Selections from Dattilocodice
4. Mirtha Dermisache, Diario No. 1 Año 1
5. Annalies Klophaus, Selections from Mot-Couleur-Roman
6. Liliane Lijn, Mind Home (Neurographs) and Easy Does It (Neurographs)
7. Jennifer Pike, Wump Ertater, A Number Progression
8. Mary Ellen Solt, Marriage Poem
9. Biljana Tomić, Typoezija
10. Hannah Weiner, Selections from Signal Flag Poems
Editors: Alex Balgiu and Mónica de la Torre
Managing Editor: James Hoff
Designer: Scott Ponik
Product shots by: @naokomaeda
@designingwriting @m_de_la_t @_james_hoff
We are pleased to announce that Women in Concrete Poetry: 1959–1979 is back in print!
This expansive anthology focuses on concrete poetry written by women in the groundbreaking movement’s early history, featuring fifty writers and artists from Europe, Japan, Latin America, and the US selected by editors Alex Balgiu and Mónica de la Torre.�
The publication takes as its point of departure "Materializzazione del linguaggio"—the groundbreaking exhibition of visual and concrete poetry by women curated by Italian feminist artist Mirella Bentivoglio for the Venice Biennale in 1978. Bentivoglio's curation traced constellations of women artists working at the intersection of the verbal and visual who sought to “reactivate the atrophied tools of communication” and liberate words from the conventions of genre, gender, and the strictures of the patriarchy and normative syntax.�
The works in this volume evolved from previous manifestations of concrete poetry as defined in foundational manifestos by Öyvind Fahlström, Eugen Gomringer, and the Brazilian Noigandres group. While some works are easily recognized as concrete poetry, as documented in canonical anthologies edited by Mary Ellen Solt and Emmett Williams in the late ’60s, the book also features expansive serial works that are overtly feminist and often trouble legibility.
Women in Concrete Poetry: 1959–1979 is 488 pages, measures 8 x 9 inches, and retails for $35.00.
Image captions:
1: Lenora de Barros, Poema
2. Mirella Bentivoglio, Gabbia (Ho)
3. Tomaso Binga, Selections from Dattilocodice
4. Mirtha Dermisache, Diario No. 1 Año 1
5. Annalies Klophaus, Selections from Mot-Couleur-Roman
6. Liliane Lijn, Mind Home (Neurographs) and Easy Does It (Neurographs)
7. Jennifer Pike, Wump Ertater, A Number Progression
8. Mary Ellen Solt, Marriage Poem
9. Biljana Tomić, Typoezija
10. Hannah Weiner, Selections from Signal Flag Poems
Editors: Alex Balgiu and Mónica de la Torre
Managing Editor: James Hoff
Designer: Scott Ponik
Product shots by: @naokomaeda
@designingwriting @m_de_la_t @_james_hoff
We are pleased to announce that Women in Concrete Poetry: 1959–1979 is back in print!
This expansive anthology focuses on concrete poetry written by women in the groundbreaking movement’s early history, featuring fifty writers and artists from Europe, Japan, Latin America, and the US selected by editors Alex Balgiu and Mónica de la Torre.�
The publication takes as its point of departure "Materializzazione del linguaggio"—the groundbreaking exhibition of visual and concrete poetry by women curated by Italian feminist artist Mirella Bentivoglio for the Venice Biennale in 1978. Bentivoglio's curation traced constellations of women artists working at the intersection of the verbal and visual who sought to “reactivate the atrophied tools of communication” and liberate words from the conventions of genre, gender, and the strictures of the patriarchy and normative syntax.�
The works in this volume evolved from previous manifestations of concrete poetry as defined in foundational manifestos by Öyvind Fahlström, Eugen Gomringer, and the Brazilian Noigandres group. While some works are easily recognized as concrete poetry, as documented in canonical anthologies edited by Mary Ellen Solt and Emmett Williams in the late ’60s, the book also features expansive serial works that are overtly feminist and often trouble legibility.
Women in Concrete Poetry: 1959–1979 is 488 pages, measures 8 x 9 inches, and retails for $35.00.
Image captions:
1: Lenora de Barros, Poema
2. Mirella Bentivoglio, Gabbia (Ho)
3. Tomaso Binga, Selections from Dattilocodice
4. Mirtha Dermisache, Diario No. 1 Año 1
5. Annalies Klophaus, Selections from Mot-Couleur-Roman
6. Liliane Lijn, Mind Home (Neurographs) and Easy Does It (Neurographs)
7. Jennifer Pike, Wump Ertater, A Number Progression
8. Mary Ellen Solt, Marriage Poem
9. Biljana Tomić, Typoezija
10. Hannah Weiner, Selections from Signal Flag Poems
Editors: Alex Balgiu and Mónica de la Torre
Managing Editor: James Hoff
Designer: Scott Ponik
Product shots by: @naokomaeda
@designingwriting @m_de_la_t @_james_hoff
We are pleased to announce that Women in Concrete Poetry: 1959–1979 is back in print!
This expansive anthology focuses on concrete poetry written by women in the groundbreaking movement’s early history, featuring fifty writers and artists from Europe, Japan, Latin America, and the US selected by editors Alex Balgiu and Mónica de la Torre.�
The publication takes as its point of departure "Materializzazione del linguaggio"—the groundbreaking exhibition of visual and concrete poetry by women curated by Italian feminist artist Mirella Bentivoglio for the Venice Biennale in 1978. Bentivoglio's curation traced constellations of women artists working at the intersection of the verbal and visual who sought to “reactivate the atrophied tools of communication” and liberate words from the conventions of genre, gender, and the strictures of the patriarchy and normative syntax.�
The works in this volume evolved from previous manifestations of concrete poetry as defined in foundational manifestos by Öyvind Fahlström, Eugen Gomringer, and the Brazilian Noigandres group. While some works are easily recognized as concrete poetry, as documented in canonical anthologies edited by Mary Ellen Solt and Emmett Williams in the late ’60s, the book also features expansive serial works that are overtly feminist and often trouble legibility.
Women in Concrete Poetry: 1959–1979 is 488 pages, measures 8 x 9 inches, and retails for $35.00.
Image captions:
1: Lenora de Barros, Poema
2. Mirella Bentivoglio, Gabbia (Ho)
3. Tomaso Binga, Selections from Dattilocodice
4. Mirtha Dermisache, Diario No. 1 Año 1
5. Annalies Klophaus, Selections from Mot-Couleur-Roman
6. Liliane Lijn, Mind Home (Neurographs) and Easy Does It (Neurographs)
7. Jennifer Pike, Wump Ertater, A Number Progression
8. Mary Ellen Solt, Marriage Poem
9. Biljana Tomić, Typoezija
10. Hannah Weiner, Selections from Signal Flag Poems
Editors: Alex Balgiu and Mónica de la Torre
Managing Editor: James Hoff
Designer: Scott Ponik
Product shots by: @naokomaeda
@designingwriting @m_de_la_t @_james_hoff
For Lesbian Visibility Week, Primary Information is highlighting a selection of posters from our most recent publication, "fierce pussy," by the eponymous lesbian artist collective.
Since the 1990s, fierce pussy has fought for lesbian visibility through their wheatpasted postering campaigns around New York City, their renaming of city streets for lesbian heroes, and their advocacy work for LGBTQ+ rights.
For Lesbian Visibility Week, Primary Information is highlighting a selection of posters from our most recent publication, "fierce pussy," by the eponymous lesbian artist collective.
Since the 1990s, fierce pussy has fought for lesbian visibility through their wheatpasted postering campaigns around New York City, their renaming of city streets for lesbian heroes, and their advocacy work for LGBTQ+ rights.
For Lesbian Visibility Week, Primary Information is highlighting a selection of posters from our most recent publication, "fierce pussy," by the eponymous lesbian artist collective.
Since the 1990s, fierce pussy has fought for lesbian visibility through their wheatpasted postering campaigns around New York City, their renaming of city streets for lesbian heroes, and their advocacy work for LGBTQ+ rights.
Congratulations to Andrew Durbin on the publication of “The Wonderful World That Almost Was”! This book serves as a dual biography of Paul Thek and Peter Hujar, focusing on their intertwined lives and individual artistic careers.
Durbin wrote the afterword for our book, “Stay Away from Nothing,” that explores the relationship between Thek and Hujar through their letters and photographs.
We are pleased to announce the release of an eponymously titled publication by fierce pussy. The book brings together thirty-nine of the legendary art collective’s posters, from works made in the urgent early days of the AIDS crisis to present-day advocacy for Queer and Trans rights.
In keeping with fierce pussy’s activism in public spaces, the publication is designed to allow readers to tear out any of the posters to share, wheatpaste, scan, photocopy, and distribute or to easily open the book to any page to hang it on a wall. Combining calls for political and social action, proud reclamations of derogatory language, and pointed questions, the posters in fierce pussy address pressing sociopolitical issues in the group’s distinctive voice.
Emerging during a decade steeped in the AIDS crisis and LGBTQ+ activism, fierce pussy (which includes core founding members Nancy Brooks Brody [1962–2023], Joy Episalla, Zoe Leonard, and Carrie Yamaoka) brought Queer identity directly into the streets in a manner characterized by the urgency of those years. In recent years they have expanded to also present their work in galleries and museums, while continuing to intervene in the public space, always working with an economy of means and a collective ethos of inclusion and solidarity.
This publication was originally published by Printed Matter in 2008 to coincide with a retrospective exhibition of the collective’s work. This new expanded edition includes twenty-five additional posters.
fierce pussy is 41 pages, measures 11 x 17 inches, and retails for $30.00.
Managing Editor: Jules Spector
Designers: Garrick Gott and Bryce Wilner
Product shots by: @naokomaeda
@jepisalla @carrie.yamaoka @fp_1991 @julespector @theonlygarrickgott
We are pleased to announce the release of an eponymously titled publication by fierce pussy. The book brings together thirty-nine of the legendary art collective’s posters, from works made in the urgent early days of the AIDS crisis to present-day advocacy for Queer and Trans rights.
In keeping with fierce pussy’s activism in public spaces, the publication is designed to allow readers to tear out any of the posters to share, wheatpaste, scan, photocopy, and distribute or to easily open the book to any page to hang it on a wall. Combining calls for political and social action, proud reclamations of derogatory language, and pointed questions, the posters in fierce pussy address pressing sociopolitical issues in the group’s distinctive voice.
Emerging during a decade steeped in the AIDS crisis and LGBTQ+ activism, fierce pussy (which includes core founding members Nancy Brooks Brody [1962–2023], Joy Episalla, Zoe Leonard, and Carrie Yamaoka) brought Queer identity directly into the streets in a manner characterized by the urgency of those years. In recent years they have expanded to also present their work in galleries and museums, while continuing to intervene in the public space, always working with an economy of means and a collective ethos of inclusion and solidarity.
This publication was originally published by Printed Matter in 2008 to coincide with a retrospective exhibition of the collective’s work. This new expanded edition includes twenty-five additional posters.
fierce pussy is 41 pages, measures 11 x 17 inches, and retails for $30.00.
Managing Editor: Jules Spector
Designers: Garrick Gott and Bryce Wilner
Product shots by: @naokomaeda
@jepisalla @carrie.yamaoka @fp_1991 @julespector @theonlygarrickgott
We are pleased to announce the release of an eponymously titled publication by fierce pussy. The book brings together thirty-nine of the legendary art collective’s posters, from works made in the urgent early days of the AIDS crisis to present-day advocacy for Queer and Trans rights.
In keeping with fierce pussy’s activism in public spaces, the publication is designed to allow readers to tear out any of the posters to share, wheatpaste, scan, photocopy, and distribute or to easily open the book to any page to hang it on a wall. Combining calls for political and social action, proud reclamations of derogatory language, and pointed questions, the posters in fierce pussy address pressing sociopolitical issues in the group’s distinctive voice.
Emerging during a decade steeped in the AIDS crisis and LGBTQ+ activism, fierce pussy (which includes core founding members Nancy Brooks Brody [1962–2023], Joy Episalla, Zoe Leonard, and Carrie Yamaoka) brought Queer identity directly into the streets in a manner characterized by the urgency of those years. In recent years they have expanded to also present their work in galleries and museums, while continuing to intervene in the public space, always working with an economy of means and a collective ethos of inclusion and solidarity.
This publication was originally published by Printed Matter in 2008 to coincide with a retrospective exhibition of the collective’s work. This new expanded edition includes twenty-five additional posters.
fierce pussy is 41 pages, measures 11 x 17 inches, and retails for $30.00.
Managing Editor: Jules Spector
Designers: Garrick Gott and Bryce Wilner
Product shots by: @naokomaeda
@jepisalla @carrie.yamaoka @fp_1991 @julespector @theonlygarrickgott
We are pleased to announce the release of an eponymously titled publication by fierce pussy. The book brings together thirty-nine of the legendary art collective’s posters, from works made in the urgent early days of the AIDS crisis to present-day advocacy for Queer and Trans rights.
In keeping with fierce pussy’s activism in public spaces, the publication is designed to allow readers to tear out any of the posters to share, wheatpaste, scan, photocopy, and distribute or to easily open the book to any page to hang it on a wall. Combining calls for political and social action, proud reclamations of derogatory language, and pointed questions, the posters in fierce pussy address pressing sociopolitical issues in the group’s distinctive voice.
Emerging during a decade steeped in the AIDS crisis and LGBTQ+ activism, fierce pussy (which includes core founding members Nancy Brooks Brody [1962–2023], Joy Episalla, Zoe Leonard, and Carrie Yamaoka) brought Queer identity directly into the streets in a manner characterized by the urgency of those years. In recent years they have expanded to also present their work in galleries and museums, while continuing to intervene in the public space, always working with an economy of means and a collective ethos of inclusion and solidarity.
This publication was originally published by Printed Matter in 2008 to coincide with a retrospective exhibition of the collective’s work. This new expanded edition includes twenty-five additional posters.
fierce pussy is 41 pages, measures 11 x 17 inches, and retails for $30.00.
Managing Editor: Jules Spector
Designers: Garrick Gott and Bryce Wilner
Product shots by: @naokomaeda
@jepisalla @carrie.yamaoka @fp_1991 @julespector @theonlygarrickgott
We are pleased to announce the release of an eponymously titled publication by fierce pussy. The book brings together thirty-nine of the legendary art collective’s posters, from works made in the urgent early days of the AIDS crisis to present-day advocacy for Queer and Trans rights.
In keeping with fierce pussy’s activism in public spaces, the publication is designed to allow readers to tear out any of the posters to share, wheatpaste, scan, photocopy, and distribute or to easily open the book to any page to hang it on a wall. Combining calls for political and social action, proud reclamations of derogatory language, and pointed questions, the posters in fierce pussy address pressing sociopolitical issues in the group’s distinctive voice.
Emerging during a decade steeped in the AIDS crisis and LGBTQ+ activism, fierce pussy (which includes core founding members Nancy Brooks Brody [1962–2023], Joy Episalla, Zoe Leonard, and Carrie Yamaoka) brought Queer identity directly into the streets in a manner characterized by the urgency of those years. In recent years they have expanded to also present their work in galleries and museums, while continuing to intervene in the public space, always working with an economy of means and a collective ethos of inclusion and solidarity.
This publication was originally published by Printed Matter in 2008 to coincide with a retrospective exhibition of the collective’s work. This new expanded edition includes twenty-five additional posters.
fierce pussy is 41 pages, measures 11 x 17 inches, and retails for $30.00.
Managing Editor: Jules Spector
Designers: Garrick Gott and Bryce Wilner
Product shots by: @naokomaeda
@jepisalla @carrie.yamaoka @fp_1991 @julespector @theonlygarrickgott
We are pleased to announce the release of an eponymously titled publication by fierce pussy. The book brings together thirty-nine of the legendary art collective’s posters, from works made in the urgent early days of the AIDS crisis to present-day advocacy for Queer and Trans rights.
In keeping with fierce pussy’s activism in public spaces, the publication is designed to allow readers to tear out any of the posters to share, wheatpaste, scan, photocopy, and distribute or to easily open the book to any page to hang it on a wall. Combining calls for political and social action, proud reclamations of derogatory language, and pointed questions, the posters in fierce pussy address pressing sociopolitical issues in the group’s distinctive voice.
Emerging during a decade steeped in the AIDS crisis and LGBTQ+ activism, fierce pussy (which includes core founding members Nancy Brooks Brody [1962–2023], Joy Episalla, Zoe Leonard, and Carrie Yamaoka) brought Queer identity directly into the streets in a manner characterized by the urgency of those years. In recent years they have expanded to also present their work in galleries and museums, while continuing to intervene in the public space, always working with an economy of means and a collective ethos of inclusion and solidarity.
This publication was originally published by Printed Matter in 2008 to coincide with a retrospective exhibition of the collective’s work. This new expanded edition includes twenty-five additional posters.
fierce pussy is 41 pages, measures 11 x 17 inches, and retails for $30.00.
Managing Editor: Jules Spector
Designers: Garrick Gott and Bryce Wilner
Product shots by: @naokomaeda
@jepisalla @carrie.yamaoka @fp_1991 @julespector @theonlygarrickgott
We are pleased to announce the release of an eponymously titled publication by fierce pussy. The book brings together thirty-nine of the legendary art collective’s posters, from works made in the urgent early days of the AIDS crisis to present-day advocacy for Queer and Trans rights.
In keeping with fierce pussy’s activism in public spaces, the publication is designed to allow readers to tear out any of the posters to share, wheatpaste, scan, photocopy, and distribute or to easily open the book to any page to hang it on a wall. Combining calls for political and social action, proud reclamations of derogatory language, and pointed questions, the posters in fierce pussy address pressing sociopolitical issues in the group’s distinctive voice.
Emerging during a decade steeped in the AIDS crisis and LGBTQ+ activism, fierce pussy (which includes core founding members Nancy Brooks Brody [1962–2023], Joy Episalla, Zoe Leonard, and Carrie Yamaoka) brought Queer identity directly into the streets in a manner characterized by the urgency of those years. In recent years they have expanded to also present their work in galleries and museums, while continuing to intervene in the public space, always working with an economy of means and a collective ethos of inclusion and solidarity.
This publication was originally published by Printed Matter in 2008 to coincide with a retrospective exhibition of the collective’s work. This new expanded edition includes twenty-five additional posters.
fierce pussy is 41 pages, measures 11 x 17 inches, and retails for $30.00.
Managing Editor: Jules Spector
Designers: Garrick Gott and Bryce Wilner
Product shots by: @naokomaeda
@jepisalla @carrie.yamaoka @fp_1991 @julespector @theonlygarrickgott
We are pleased to announce the release of an eponymously titled publication by fierce pussy. The book brings together thirty-nine of the legendary art collective’s posters, from works made in the urgent early days of the AIDS crisis to present-day advocacy for Queer and Trans rights.
In keeping with fierce pussy’s activism in public spaces, the publication is designed to allow readers to tear out any of the posters to share, wheatpaste, scan, photocopy, and distribute or to easily open the book to any page to hang it on a wall. Combining calls for political and social action, proud reclamations of derogatory language, and pointed questions, the posters in fierce pussy address pressing sociopolitical issues in the group’s distinctive voice.
Emerging during a decade steeped in the AIDS crisis and LGBTQ+ activism, fierce pussy (which includes core founding members Nancy Brooks Brody [1962–2023], Joy Episalla, Zoe Leonard, and Carrie Yamaoka) brought Queer identity directly into the streets in a manner characterized by the urgency of those years. In recent years they have expanded to also present their work in galleries and museums, while continuing to intervene in the public space, always working with an economy of means and a collective ethos of inclusion and solidarity.
This publication was originally published by Printed Matter in 2008 to coincide with a retrospective exhibition of the collective’s work. This new expanded edition includes twenty-five additional posters.
fierce pussy is 41 pages, measures 11 x 17 inches, and retails for $30.00.
Managing Editor: Jules Spector
Designers: Garrick Gott and Bryce Wilner
Product shots by: @naokomaeda
@jepisalla @carrie.yamaoka @fp_1991 @julespector @theonlygarrickgott
We are pleased to announce the release of an eponymously titled publication by fierce pussy. The book brings together thirty-nine of the legendary art collective’s posters, from works made in the urgent early days of the AIDS crisis to present-day advocacy for Queer and Trans rights.
In keeping with fierce pussy’s activism in public spaces, the publication is designed to allow readers to tear out any of the posters to share, wheatpaste, scan, photocopy, and distribute or to easily open the book to any page to hang it on a wall. Combining calls for political and social action, proud reclamations of derogatory language, and pointed questions, the posters in fierce pussy address pressing sociopolitical issues in the group’s distinctive voice.
Emerging during a decade steeped in the AIDS crisis and LGBTQ+ activism, fierce pussy (which includes core founding members Nancy Brooks Brody [1962–2023], Joy Episalla, Zoe Leonard, and Carrie Yamaoka) brought Queer identity directly into the streets in a manner characterized by the urgency of those years. In recent years they have expanded to also present their work in galleries and museums, while continuing to intervene in the public space, always working with an economy of means and a collective ethos of inclusion and solidarity.
This publication was originally published by Printed Matter in 2008 to coincide with a retrospective exhibition of the collective’s work. This new expanded edition includes twenty-five additional posters.
fierce pussy is 41 pages, measures 11 x 17 inches, and retails for $30.00.
Managing Editor: Jules Spector
Designers: Garrick Gott and Bryce Wilner
Product shots by: @naokomaeda
@jepisalla @carrie.yamaoka @fp_1991 @julespector @theonlygarrickgott
We are pleased to announce the release of an eponymously titled publication by fierce pussy. The book brings together thirty-nine of the legendary art collective’s posters, from works made in the urgent early days of the AIDS crisis to present-day advocacy for Queer and Trans rights.
In keeping with fierce pussy’s activism in public spaces, the publication is designed to allow readers to tear out any of the posters to share, wheatpaste, scan, photocopy, and distribute or to easily open the book to any page to hang it on a wall. Combining calls for political and social action, proud reclamations of derogatory language, and pointed questions, the posters in fierce pussy address pressing sociopolitical issues in the group’s distinctive voice.
Emerging during a decade steeped in the AIDS crisis and LGBTQ+ activism, fierce pussy (which includes core founding members Nancy Brooks Brody [1962–2023], Joy Episalla, Zoe Leonard, and Carrie Yamaoka) brought Queer identity directly into the streets in a manner characterized by the urgency of those years. In recent years they have expanded to also present their work in galleries and museums, while continuing to intervene in the public space, always working with an economy of means and a collective ethos of inclusion and solidarity.
This publication was originally published by Printed Matter in 2008 to coincide with a retrospective exhibition of the collective’s work. This new expanded edition includes twenty-five additional posters.
fierce pussy is 41 pages, measures 11 x 17 inches, and retails for $30.00.
Managing Editor: Jules Spector
Designers: Garrick Gott and Bryce Wilner
Product shots by: @naokomaeda
@jepisalla @carrie.yamaoka @fp_1991 @julespector @theonlygarrickgott
A retrospective exhibition of Paul Mpagi Sepuya’s work is on view at Fotomuseum Winterthur in Switzerland through June 14th. The show, Focus. Desire., is organized according to three touchpoints of Sepuya’s body of work: Studio, Dark Room, and Archive.
The first section comprises photographs that feature the evolving definition of Sepuya’s studio space—his bedroom (as seen in SHOOT), friend’s homes, residency programs, and his own separate photographic studio. An oversized reproduction of a 2018 photograph of his Los Angeles studio on a plywood frame invites viewers to enter that space itself. The Dark Room section features Sepuya’s eponymous series of red-tinged photographs that emulate the lighting of the site of photographic reproduction, exhibited on walls painted in dark colors.
The final portion of the exhibition explores Sepuya’s devotion to the photographic archive and his own personal collection of ephemera. Beginning with SHOOT and The Early Portraits (2005–10)—a series of portraits taken in the artist’s bedroom that furthered the aesthetic of those in his early zine—the exhibition showcases Sepuya’s ongoing journals and collages he uses to reinvent and reimagine his photographs.
To see more of Sepuya’s work, get your copy of SHOOT at the link in our bio.
A retrospective exhibition of Paul Mpagi Sepuya’s work is on view at Fotomuseum Winterthur in Switzerland through June 14th. The show, Focus. Desire., is organized according to three touchpoints of Sepuya’s body of work: Studio, Dark Room, and Archive.
The first section comprises photographs that feature the evolving definition of Sepuya’s studio space—his bedroom (as seen in SHOOT), friend’s homes, residency programs, and his own separate photographic studio. An oversized reproduction of a 2018 photograph of his Los Angeles studio on a plywood frame invites viewers to enter that space itself. The Dark Room section features Sepuya’s eponymous series of red-tinged photographs that emulate the lighting of the site of photographic reproduction, exhibited on walls painted in dark colors.
The final portion of the exhibition explores Sepuya’s devotion to the photographic archive and his own personal collection of ephemera. Beginning with SHOOT and The Early Portraits (2005–10)—a series of portraits taken in the artist’s bedroom that furthered the aesthetic of those in his early zine—the exhibition showcases Sepuya’s ongoing journals and collages he uses to reinvent and reimagine his photographs.
To see more of Sepuya’s work, get your copy of SHOOT at the link in our bio.
A retrospective exhibition of Paul Mpagi Sepuya’s work is on view at Fotomuseum Winterthur in Switzerland through June 14th. The show, Focus. Desire., is organized according to three touchpoints of Sepuya’s body of work: Studio, Dark Room, and Archive.
The first section comprises photographs that feature the evolving definition of Sepuya’s studio space—his bedroom (as seen in SHOOT), friend’s homes, residency programs, and his own separate photographic studio. An oversized reproduction of a 2018 photograph of his Los Angeles studio on a plywood frame invites viewers to enter that space itself. The Dark Room section features Sepuya’s eponymous series of red-tinged photographs that emulate the lighting of the site of photographic reproduction, exhibited on walls painted in dark colors.
The final portion of the exhibition explores Sepuya’s devotion to the photographic archive and his own personal collection of ephemera. Beginning with SHOOT and The Early Portraits (2005–10)—a series of portraits taken in the artist’s bedroom that furthered the aesthetic of those in his early zine—the exhibition showcases Sepuya’s ongoing journals and collages he uses to reinvent and reimagine his photographs.
To see more of Sepuya’s work, get your copy of SHOOT at the link in our bio.
A retrospective exhibition of Paul Mpagi Sepuya’s work is on view at Fotomuseum Winterthur in Switzerland through June 14th. The show, Focus. Desire., is organized according to three touchpoints of Sepuya’s body of work: Studio, Dark Room, and Archive.
The first section comprises photographs that feature the evolving definition of Sepuya’s studio space—his bedroom (as seen in SHOOT), friend’s homes, residency programs, and his own separate photographic studio. An oversized reproduction of a 2018 photograph of his Los Angeles studio on a plywood frame invites viewers to enter that space itself. The Dark Room section features Sepuya’s eponymous series of red-tinged photographs that emulate the lighting of the site of photographic reproduction, exhibited on walls painted in dark colors.
The final portion of the exhibition explores Sepuya’s devotion to the photographic archive and his own personal collection of ephemera. Beginning with SHOOT and The Early Portraits (2005–10)—a series of portraits taken in the artist’s bedroom that furthered the aesthetic of those in his early zine—the exhibition showcases Sepuya’s ongoing journals and collages he uses to reinvent and reimagine his photographs.
To see more of Sepuya’s work, get your copy of SHOOT at the link in our bio.
We're deeply saddened by the loss of Siri Aurdal (1937–2026), a visionary artist who used industrial materials to create modular sculptural systems that she exhibited in a range of environments, from galleries to a school playground. These works invited hands-on engagement and social interaction amongst audiences—a radical approach at the time that foreshadowed installation art and relational aesthetics.
We had the honor of publishing "Siri Aurdal by Eline Mugaas" in 2016, a collaborative artist book in which Mugaas collaged together decades of drawings, documentation, and ephemera by Aurdal. Due to the ephemeral nature of Aurdal's work, it often survived only through documentation, with this publication offering a particularly invaluable window into her practice.
We're deeply saddened by the loss of Siri Aurdal (1937–2026), a visionary artist who used industrial materials to create modular sculptural systems that she exhibited in a range of environments, from galleries to a school playground. These works invited hands-on engagement and social interaction amongst audiences—a radical approach at the time that foreshadowed installation art and relational aesthetics.
We had the honor of publishing "Siri Aurdal by Eline Mugaas" in 2016, a collaborative artist book in which Mugaas collaged together decades of drawings, documentation, and ephemera by Aurdal. Due to the ephemeral nature of Aurdal's work, it often survived only through documentation, with this publication offering a particularly invaluable window into her practice.
We're deeply saddened by the loss of Siri Aurdal (1937–2026), a visionary artist who used industrial materials to create modular sculptural systems that she exhibited in a range of environments, from galleries to a school playground. These works invited hands-on engagement and social interaction amongst audiences—a radical approach at the time that foreshadowed installation art and relational aesthetics.
We had the honor of publishing "Siri Aurdal by Eline Mugaas" in 2016, a collaborative artist book in which Mugaas collaged together decades of drawings, documentation, and ephemera by Aurdal. Due to the ephemeral nature of Aurdal's work, it often survived only through documentation, with this publication offering a particularly invaluable window into her practice.
Paul Sepuya’s work is both self-referential and historically informed, simultaneously highlighting the photographer, the space in which the photographs are taken, the mechanisms of photography, and the development of the medium. This convergence of influences is exemplified in his two pivotal series, Daylight Studio and Dark Room Studio. Although both bodies of work are grounded in the same constitutive elements—Sepuya’s studio as a setting, his friends and muses as the subjects—they take fundamentally different approaches to their representation.
Sepuya makes the Daylight Studio compositions in his studio, using the natural light streaming into the space as his only lighting. Beginning with an interest in nineteenth- and early twentieth-century photography, Sepuya collected objects that reflected those in the Western European and American photo studios of those times. In his words, “these were operated by white photographers at a moment where depictions and fantasies of racialized, gendered, and sexualized images of labor, leisure, and pleasure were being formed.” By appropriating these motifs, Sepuya inserts the Queer body into the photographic canon—often the camera, subjects, mirrors, and the artist himself are all visible at once.
Conversely, in Dark Room Studio, Sepuya takes photographs in deep crimson lighting, emulating the coloration of the photographic dark room (the red light doesn’t damage black-and-white photo paper). The light emitted by the safe lights—often visible in the photographs—charge the scenes with a sense of intensity and urgency, amplified by the long exposure time of the subjects. Photographic mark-making is visible in the resulting pigment and dye sublimation prints, with Sepuya showcasing fingerprints, streaks, and lighting implements.
Image 1: Daylight Studio Mirror (_DSF2371), 2023
Image 2: Daylight Studio Model Study (0X5A2323), 2022
Image 3: Dark Room Studio Mirror (0X5A3797), 2022
Image 4: Dark Room Studio Mirror (0X5A8074), 2021
Paul Sepuya’s work is both self-referential and historically informed, simultaneously highlighting the photographer, the space in which the photographs are taken, the mechanisms of photography, and the development of the medium. This convergence of influences is exemplified in his two pivotal series, Daylight Studio and Dark Room Studio. Although both bodies of work are grounded in the same constitutive elements—Sepuya’s studio as a setting, his friends and muses as the subjects—they take fundamentally different approaches to their representation.
Sepuya makes the Daylight Studio compositions in his studio, using the natural light streaming into the space as his only lighting. Beginning with an interest in nineteenth- and early twentieth-century photography, Sepuya collected objects that reflected those in the Western European and American photo studios of those times. In his words, “these were operated by white photographers at a moment where depictions and fantasies of racialized, gendered, and sexualized images of labor, leisure, and pleasure were being formed.” By appropriating these motifs, Sepuya inserts the Queer body into the photographic canon—often the camera, subjects, mirrors, and the artist himself are all visible at once.
Conversely, in Dark Room Studio, Sepuya takes photographs in deep crimson lighting, emulating the coloration of the photographic dark room (the red light doesn’t damage black-and-white photo paper). The light emitted by the safe lights—often visible in the photographs—charge the scenes with a sense of intensity and urgency, amplified by the long exposure time of the subjects. Photographic mark-making is visible in the resulting pigment and dye sublimation prints, with Sepuya showcasing fingerprints, streaks, and lighting implements.
Image 1: Daylight Studio Mirror (_DSF2371), 2023
Image 2: Daylight Studio Model Study (0X5A2323), 2022
Image 3: Dark Room Studio Mirror (0X5A3797), 2022
Image 4: Dark Room Studio Mirror (0X5A8074), 2021
Paul Sepuya’s work is both self-referential and historically informed, simultaneously highlighting the photographer, the space in which the photographs are taken, the mechanisms of photography, and the development of the medium. This convergence of influences is exemplified in his two pivotal series, Daylight Studio and Dark Room Studio. Although both bodies of work are grounded in the same constitutive elements—Sepuya’s studio as a setting, his friends and muses as the subjects—they take fundamentally different approaches to their representation.
Sepuya makes the Daylight Studio compositions in his studio, using the natural light streaming into the space as his only lighting. Beginning with an interest in nineteenth- and early twentieth-century photography, Sepuya collected objects that reflected those in the Western European and American photo studios of those times. In his words, “these were operated by white photographers at a moment where depictions and fantasies of racialized, gendered, and sexualized images of labor, leisure, and pleasure were being formed.” By appropriating these motifs, Sepuya inserts the Queer body into the photographic canon—often the camera, subjects, mirrors, and the artist himself are all visible at once.
Conversely, in Dark Room Studio, Sepuya takes photographs in deep crimson lighting, emulating the coloration of the photographic dark room (the red light doesn’t damage black-and-white photo paper). The light emitted by the safe lights—often visible in the photographs—charge the scenes with a sense of intensity and urgency, amplified by the long exposure time of the subjects. Photographic mark-making is visible in the resulting pigment and dye sublimation prints, with Sepuya showcasing fingerprints, streaks, and lighting implements.
Image 1: Daylight Studio Mirror (_DSF2371), 2023
Image 2: Daylight Studio Model Study (0X5A2323), 2022
Image 3: Dark Room Studio Mirror (0X5A3797), 2022
Image 4: Dark Room Studio Mirror (0X5A8074), 2021
Paul Sepuya’s work is both self-referential and historically informed, simultaneously highlighting the photographer, the space in which the photographs are taken, the mechanisms of photography, and the development of the medium. This convergence of influences is exemplified in his two pivotal series, Daylight Studio and Dark Room Studio. Although both bodies of work are grounded in the same constitutive elements—Sepuya’s studio as a setting, his friends and muses as the subjects—they take fundamentally different approaches to their representation.
Sepuya makes the Daylight Studio compositions in his studio, using the natural light streaming into the space as his only lighting. Beginning with an interest in nineteenth- and early twentieth-century photography, Sepuya collected objects that reflected those in the Western European and American photo studios of those times. In his words, “these were operated by white photographers at a moment where depictions and fantasies of racialized, gendered, and sexualized images of labor, leisure, and pleasure were being formed.” By appropriating these motifs, Sepuya inserts the Queer body into the photographic canon—often the camera, subjects, mirrors, and the artist himself are all visible at once.
Conversely, in Dark Room Studio, Sepuya takes photographs in deep crimson lighting, emulating the coloration of the photographic dark room (the red light doesn’t damage black-and-white photo paper). The light emitted by the safe lights—often visible in the photographs—charge the scenes with a sense of intensity and urgency, amplified by the long exposure time of the subjects. Photographic mark-making is visible in the resulting pigment and dye sublimation prints, with Sepuya showcasing fingerprints, streaks, and lighting implements.
Image 1: Daylight Studio Mirror (_DSF2371), 2023
Image 2: Daylight Studio Model Study (0X5A2323), 2022
Image 3: Dark Room Studio Mirror (0X5A3797), 2022
Image 4: Dark Room Studio Mirror (0X5A8074), 2021
Paul Mpagi Sepuya participated in the Studio Museum in Harlem’s Artist-in-Residence program from 2010–11, along with artists Simone Leigh and Kamau Abu Patton. Photographing directly in his studio space at the museum, he produced the series STUDIO WORK, maintaining the sense of intimacy found in his prior photographic work.
Like the photographs found in our recent collection of SHOOT, much of Sepuya’s early work was created in his home, often in his bedroom. In the untouched studio space of the museum, Sepuya recreated a version of his domestic environment, bringing with him a few pieces from his apartment. However, instead of building a set, he let one develop organically via his visitors and portrait subjects. As his residency went on, he cultivated a space that built upon itself. The room accumulated the detritus the visitors left behind—orange peels, bread, bottles, clothes—as well as the test prints and other photographs he produced during the residency. The resulting photographs incorporated all of these elements to tell a visual story of Sepuya’s friends, inspirations, and artistic process.
Image 1: Self-portrait, Studio, March 27, 2011.
Image 2: Studio, March 2, 2011.
Image 3: Self-portraits (Studio Practice), 2011
Image 4: Studio, March 11, 2011.
Image 5: Studio Work, 2011.
Paul Mpagi Sepuya participated in the Studio Museum in Harlem’s Artist-in-Residence program from 2010–11, along with artists Simone Leigh and Kamau Abu Patton. Photographing directly in his studio space at the museum, he produced the series STUDIO WORK, maintaining the sense of intimacy found in his prior photographic work.
Like the photographs found in our recent collection of SHOOT, much of Sepuya’s early work was created in his home, often in his bedroom. In the untouched studio space of the museum, Sepuya recreated a version of his domestic environment, bringing with him a few pieces from his apartment. However, instead of building a set, he let one develop organically via his visitors and portrait subjects. As his residency went on, he cultivated a space that built upon itself. The room accumulated the detritus the visitors left behind—orange peels, bread, bottles, clothes—as well as the test prints and other photographs he produced during the residency. The resulting photographs incorporated all of these elements to tell a visual story of Sepuya’s friends, inspirations, and artistic process.
Image 1: Self-portrait, Studio, March 27, 2011.
Image 2: Studio, March 2, 2011.
Image 3: Self-portraits (Studio Practice), 2011
Image 4: Studio, March 11, 2011.
Image 5: Studio Work, 2011.
Paul Mpagi Sepuya participated in the Studio Museum in Harlem’s Artist-in-Residence program from 2010–11, along with artists Simone Leigh and Kamau Abu Patton. Photographing directly in his studio space at the museum, he produced the series STUDIO WORK, maintaining the sense of intimacy found in his prior photographic work.
Like the photographs found in our recent collection of SHOOT, much of Sepuya’s early work was created in his home, often in his bedroom. In the untouched studio space of the museum, Sepuya recreated a version of his domestic environment, bringing with him a few pieces from his apartment. However, instead of building a set, he let one develop organically via his visitors and portrait subjects. As his residency went on, he cultivated a space that built upon itself. The room accumulated the detritus the visitors left behind—orange peels, bread, bottles, clothes—as well as the test prints and other photographs he produced during the residency. The resulting photographs incorporated all of these elements to tell a visual story of Sepuya’s friends, inspirations, and artistic process.
Image 1: Self-portrait, Studio, March 27, 2011.
Image 2: Studio, March 2, 2011.
Image 3: Self-portraits (Studio Practice), 2011
Image 4: Studio, March 11, 2011.
Image 5: Studio Work, 2011.
Paul Mpagi Sepuya participated in the Studio Museum in Harlem’s Artist-in-Residence program from 2010–11, along with artists Simone Leigh and Kamau Abu Patton. Photographing directly in his studio space at the museum, he produced the series STUDIO WORK, maintaining the sense of intimacy found in his prior photographic work.
Like the photographs found in our recent collection of SHOOT, much of Sepuya’s early work was created in his home, often in his bedroom. In the untouched studio space of the museum, Sepuya recreated a version of his domestic environment, bringing with him a few pieces from his apartment. However, instead of building a set, he let one develop organically via his visitors and portrait subjects. As his residency went on, he cultivated a space that built upon itself. The room accumulated the detritus the visitors left behind—orange peels, bread, bottles, clothes—as well as the test prints and other photographs he produced during the residency. The resulting photographs incorporated all of these elements to tell a visual story of Sepuya’s friends, inspirations, and artistic process.
Image 1: Self-portrait, Studio, March 27, 2011.
Image 2: Studio, March 2, 2011.
Image 3: Self-portraits (Studio Practice), 2011
Image 4: Studio, March 11, 2011.
Image 5: Studio Work, 2011.
Paul Mpagi Sepuya participated in the Studio Museum in Harlem’s Artist-in-Residence program from 2010–11, along with artists Simone Leigh and Kamau Abu Patton. Photographing directly in his studio space at the museum, he produced the series STUDIO WORK, maintaining the sense of intimacy found in his prior photographic work.
Like the photographs found in our recent collection of SHOOT, much of Sepuya’s early work was created in his home, often in his bedroom. In the untouched studio space of the museum, Sepuya recreated a version of his domestic environment, bringing with him a few pieces from his apartment. However, instead of building a set, he let one develop organically via his visitors and portrait subjects. As his residency went on, he cultivated a space that built upon itself. The room accumulated the detritus the visitors left behind—orange peels, bread, bottles, clothes—as well as the test prints and other photographs he produced during the residency. The resulting photographs incorporated all of these elements to tell a visual story of Sepuya’s friends, inspirations, and artistic process.
Image 1: Self-portrait, Studio, March 27, 2011.
Image 2: Studio, March 2, 2011.
Image 3: Self-portraits (Studio Practice), 2011
Image 4: Studio, March 11, 2011.
Image 5: Studio Work, 2011.
After moving to New York in 2000, Paul Mpagi Sepuya became immersed in the Queer zine culture of the city. He began working on his self-published zine, SHOOT, in 2005 as an experiment in creating an extended portrait of a single subject. The idea of creating the zine occurred to him while in the darkroom printing contact sheets of Nico (the subject of Issue 1)—instead of one static image representing an individual, why not create a narrative through multiple images?
The zine originally served as a way for Sepuya to use materials from the archive he compiled of test prints, contact sheets, and printing trials. Issues 1 and 2 comprise outtakes from full portrait sessions the artist did with the subjects, often printed at Mack’s Color Lab in Bushwick. Sepuya clandestinely photocopied these color prints while at work in the offices of Creative Capital and The Andy Warhol Foundation on Bleecker Street, with some early photocopies also made at the Department of Photography & Imaging Library at NYU Tisch. As demand grew for the zines, which were sold at stores like Printed Matter and various book fairs in NYC, Sepuya printed more regularly at the Print Mor copy shop on Bleecker and another shop on Graham Avenue in Brooklyn.
For Sepuya, “the accessibility and non-preciousness of the zine materials—xeroxes and laser prints” and the ability to “return to them” were important in his development as a photographer.
The images in this post were gathered by Sepuya from his Instagram followers' collections of the original SHOOT zines.
After moving to New York in 2000, Paul Mpagi Sepuya became immersed in the Queer zine culture of the city. He began working on his self-published zine, SHOOT, in 2005 as an experiment in creating an extended portrait of a single subject. The idea of creating the zine occurred to him while in the darkroom printing contact sheets of Nico (the subject of Issue 1)—instead of one static image representing an individual, why not create a narrative through multiple images?
The zine originally served as a way for Sepuya to use materials from the archive he compiled of test prints, contact sheets, and printing trials. Issues 1 and 2 comprise outtakes from full portrait sessions the artist did with the subjects, often printed at Mack’s Color Lab in Bushwick. Sepuya clandestinely photocopied these color prints while at work in the offices of Creative Capital and The Andy Warhol Foundation on Bleecker Street, with some early photocopies also made at the Department of Photography & Imaging Library at NYU Tisch. As demand grew for the zines, which were sold at stores like Printed Matter and various book fairs in NYC, Sepuya printed more regularly at the Print Mor copy shop on Bleecker and another shop on Graham Avenue in Brooklyn.
For Sepuya, “the accessibility and non-preciousness of the zine materials—xeroxes and laser prints” and the ability to “return to them” were important in his development as a photographer.
The images in this post were gathered by Sepuya from his Instagram followers' collections of the original SHOOT zines.
After moving to New York in 2000, Paul Mpagi Sepuya became immersed in the Queer zine culture of the city. He began working on his self-published zine, SHOOT, in 2005 as an experiment in creating an extended portrait of a single subject. The idea of creating the zine occurred to him while in the darkroom printing contact sheets of Nico (the subject of Issue 1)—instead of one static image representing an individual, why not create a narrative through multiple images?
The zine originally served as a way for Sepuya to use materials from the archive he compiled of test prints, contact sheets, and printing trials. Issues 1 and 2 comprise outtakes from full portrait sessions the artist did with the subjects, often printed at Mack’s Color Lab in Bushwick. Sepuya clandestinely photocopied these color prints while at work in the offices of Creative Capital and The Andy Warhol Foundation on Bleecker Street, with some early photocopies also made at the Department of Photography & Imaging Library at NYU Tisch. As demand grew for the zines, which were sold at stores like Printed Matter and various book fairs in NYC, Sepuya printed more regularly at the Print Mor copy shop on Bleecker and another shop on Graham Avenue in Brooklyn.
For Sepuya, “the accessibility and non-preciousness of the zine materials—xeroxes and laser prints” and the ability to “return to them” were important in his development as a photographer.
The images in this post were gathered by Sepuya from his Instagram followers' collections of the original SHOOT zines.
After moving to New York in 2000, Paul Mpagi Sepuya became immersed in the Queer zine culture of the city. He began working on his self-published zine, SHOOT, in 2005 as an experiment in creating an extended portrait of a single subject. The idea of creating the zine occurred to him while in the darkroom printing contact sheets of Nico (the subject of Issue 1)—instead of one static image representing an individual, why not create a narrative through multiple images?
The zine originally served as a way for Sepuya to use materials from the archive he compiled of test prints, contact sheets, and printing trials. Issues 1 and 2 comprise outtakes from full portrait sessions the artist did with the subjects, often printed at Mack’s Color Lab in Bushwick. Sepuya clandestinely photocopied these color prints while at work in the offices of Creative Capital and The Andy Warhol Foundation on Bleecker Street, with some early photocopies also made at the Department of Photography & Imaging Library at NYU Tisch. As demand grew for the zines, which were sold at stores like Printed Matter and various book fairs in NYC, Sepuya printed more regularly at the Print Mor copy shop on Bleecker and another shop on Graham Avenue in Brooklyn.
For Sepuya, “the accessibility and non-preciousness of the zine materials—xeroxes and laser prints” and the ability to “return to them” were important in his development as a photographer.
The images in this post were gathered by Sepuya from his Instagram followers' collections of the original SHOOT zines.
As an artist who often uses language as a medium, Joseph Grigely has written several books, some of which have texts excerpted in Otherhow. His first standalone book of essays, Textualterity (1995), applies textual theory (textuality) and criticism to works of art. He defines “textualterity” as “textual transformations and textual difference,” the study of how revisions to texts may change their meaning over time, just as the conservation of works of art may do the same.
Grigely has also authored several artist books. Blueberry Surprise (2006) comprises one continuous text of 45,000 words that represents conversations had with different people. The conversations intertwine and overlap, with the start of each new voice given a different ink color. Grigely took the text of these conversations from inscribed notes—like his Conversation Pieces—and retained the idiosyncrasies of the originals, such as misspellings and incorrect punctuation. Another artist book, Exhibition Prosthetics (2010), focuses on the physical conventions of exhibitions, including press releases, wall texts, and checklists. The text was taken from a talk Grigely gave in 2009 at the Architectural Association in London, along with a conversation with the editor, Zak Kyes, and curator Hans Ulrich Obrist.
To accompany his 2023–24 retrospective exhibition at Mass MoCA, Grigely created an artist book in lieu of a traditional exhibition catalogue. The book, entitled Acknowledgements, outlines Grigely’s thoughts on the support he receives as an artist—the structures that make artmaking possible, and the people who help him along the way.
Photo credit: @josephgrigely
As an artist who often uses language as a medium, Joseph Grigely has written several books, some of which have texts excerpted in Otherhow. His first standalone book of essays, Textualterity (1995), applies textual theory (textuality) and criticism to works of art. He defines “textualterity” as “textual transformations and textual difference,” the study of how revisions to texts may change their meaning over time, just as the conservation of works of art may do the same.
Grigely has also authored several artist books. Blueberry Surprise (2006) comprises one continuous text of 45,000 words that represents conversations had with different people. The conversations intertwine and overlap, with the start of each new voice given a different ink color. Grigely took the text of these conversations from inscribed notes—like his Conversation Pieces—and retained the idiosyncrasies of the originals, such as misspellings and incorrect punctuation. Another artist book, Exhibition Prosthetics (2010), focuses on the physical conventions of exhibitions, including press releases, wall texts, and checklists. The text was taken from a talk Grigely gave in 2009 at the Architectural Association in London, along with a conversation with the editor, Zak Kyes, and curator Hans Ulrich Obrist.
To accompany his 2023–24 retrospective exhibition at Mass MoCA, Grigely created an artist book in lieu of a traditional exhibition catalogue. The book, entitled Acknowledgements, outlines Grigely’s thoughts on the support he receives as an artist—the structures that make artmaking possible, and the people who help him along the way.
Photo credit: @josephgrigely
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