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IBM Research
now at actualsource.org

New publication with photographer Cait Oppermann,published by ACTUAL SOURCE books.

This book features photographs taken by Cait at IBM Research facilities in Almaden (CA), Yorktown (NY), and Zurich (CH), between 2018 and 2024. IBM commissioned these photographs to document both the people and projects within the IBM Research ecosystem.

This series of photographs is part of a rich legacy of artists making work for IBM, a company that has collaborated with many of the world’s foremost artists, designers, and thinkers like Paul Rand, Charles and Ray Eames, and Ansel Adams. These photographs represent years of collaboration between Oppermann and IBM, showing the people and projects that make IBM Research an incubator for innovation.

Photos: @caitoppermann / @flowersfullservice
Actual Source in collaboration with Flowers & IBM
ISBN: 979-8-9872648-3-6
Catalogue Number: N04-027
Typography:
Scotch Modern Micro
Paper:
Magno Volume
Holmen TRND
Printed in Belgium
Pages: 200

Provo Showroom Hours 🌞

Monday - Thursday
9:00 AM - 5:00 PM

Photos: @westoncolton

Provo Showroom Hours 🌞

Monday - Thursday
9:00 AM - 5:00 PM

Photos: @westoncolton

Provo Showroom Hours 🌞

Monday - Thursday
9:00 AM - 5:00 PM

Photos: @westoncolton

Provo Showroom Hours 🌞

Monday - Thursday
9:00 AM - 5:00 PM

Photos: @westoncolton

Provo Showroom Hours 🌞

Monday - Thursday
9:00 AM - 5:00 PM

Photos: @westoncolton

Provo Showroom Hours 🌞

Monday - Thursday
9:00 AM - 5:00 PM

Photos: @westoncolton

The 3rd edition of @nike + Actual Source’s highly sought-after paperback “No Finish Line” is now available again.

“No Finish Line” is @nike’s design vision for the next 50 years. Through exploratory, multilevel conversations encompassing both design and critical inputs to it — like sport research, technology and manufacturing — this research project celebrates 50 years of game-changing design and innovation in the service of athletes and sport. With a foreword by Nike’s Chief Design Officer and speculative fictions by @geoffmanaugh, the book features essays by @grawesome (author, “Nike: Better is Temporary”) describing five major shifts design may undergo in the coming decades as it evolves from product to platform, performance to promise, elite to everyone, sustainable to symbiotic, and static to sensorial.

-

Specifications: 192 Pages
Paperback
Designed by @zakgroupoffice
Illustrations by @braulioamado
Published by ACTUAL SOURCE books
ISBN: 979-8-9872648-0-5

Music by @mooninite__

Available at @antennebooks for UK and all of Europe!

Galcher Lustwerk: Information
available at actualsource.org

Galcher Lustwerk’s Ghostly International debut is a clandestine rendezvous of half-dreamt nightlifes and smudged club dossiers, redacted like faded memories. Free associations on life as a recurring visitor, a deep house cover agent swaggering on and off the beat from city to city.

As with most sleuthing, there are dead ends, transient (dis)engagements, faked documents, puzzles, and half-truths illuminated by strobe lights and cell phones. As he fills the file on Information, evidence suggests that Lustwerk is a singular and savvy logician.

@lustwerk.music
@ghostly

Galcher Lustwerk: Information
available at actualsource.org

Galcher Lustwerk’s Ghostly International debut is a clandestine rendezvous of half-dreamt nightlifes and smudged club dossiers, redacted like faded memories. Free associations on life as a recurring visitor, a deep house cover agent swaggering on and off the beat from city to city.

As with most sleuthing, there are dead ends, transient (dis)engagements, faked documents, puzzles, and half-truths illuminated by strobe lights and cell phones. As he fills the file on Information, evidence suggests that Lustwerk is a singular and savvy logician.

@lustwerk.music
@ghostly

Sergio Leone by Himself
available at actualsource.org

Compiled writings and interviews from the director who pioneered the “spaghetti Western” film genre
Between the worldwide box-office success of his Dollars trilogy and his untimely death in April 1989 at the age of 60, Sergio Leone gave several interviews to selected film journalists. He also wrote a series of thoughtful essays about his cinematic influences such as Charlie Chaplin, Federico Fellini, Henry Fonda, Robert Aldrich and others.

To accompany his final film, Once Upon a Time in America (1984), he published several articles about his obsessive quest to make the film and how it eventually happened. Most of these writings have never before appeared in English; as a collection they have never before appeared anywhere. Sergio Leone by Himself, compiled by Leone’s acclaimed biographer Christopher Frayling, gathers all his significant interviews, essays and articles to create a director’s-eye view of a body of work that over the past half century has had a decisive influence on world cinema.

The book is illustrated with previously unseen photographs, posters and related ephemera from the Leone family collection and the Angelo Novi archive, both now housed in the Cineteca in Bologna.

The architect of cinema’s American West, Sergio Leone (1929–89) did not speak English. His “spaghetti Westerns” were filmed in Italy and Spain and received both critique and acclaim for their violence, grittiness and camera work. Leone is best remembered for his two “trilogies’’ of films: the Dollars trilogy starring Clint Eastwood and his Once Upon a Time films.

Sergio Leone by Himself
available at actualsource.org

Compiled writings and interviews from the director who pioneered the “spaghetti Western” film genre
Between the worldwide box-office success of his Dollars trilogy and his untimely death in April 1989 at the age of 60, Sergio Leone gave several interviews to selected film journalists. He also wrote a series of thoughtful essays about his cinematic influences such as Charlie Chaplin, Federico Fellini, Henry Fonda, Robert Aldrich and others.

To accompany his final film, Once Upon a Time in America (1984), he published several articles about his obsessive quest to make the film and how it eventually happened. Most of these writings have never before appeared in English; as a collection they have never before appeared anywhere. Sergio Leone by Himself, compiled by Leone’s acclaimed biographer Christopher Frayling, gathers all his significant interviews, essays and articles to create a director’s-eye view of a body of work that over the past half century has had a decisive influence on world cinema.

The book is illustrated with previously unseen photographs, posters and related ephemera from the Leone family collection and the Angelo Novi archive, both now housed in the Cineteca in Bologna.

The architect of cinema’s American West, Sergio Leone (1929–89) did not speak English. His “spaghetti Westerns” were filmed in Italy and Spain and received both critique and acclaim for their violence, grittiness and camera work. Leone is best remembered for his two “trilogies’’ of films: the Dollars trilogy starring Clint Eastwood and his Once Upon a Time films.

Sergio Leone by Himself
available at actualsource.org

Compiled writings and interviews from the director who pioneered the “spaghetti Western” film genre
Between the worldwide box-office success of his Dollars trilogy and his untimely death in April 1989 at the age of 60, Sergio Leone gave several interviews to selected film journalists. He also wrote a series of thoughtful essays about his cinematic influences such as Charlie Chaplin, Federico Fellini, Henry Fonda, Robert Aldrich and others.

To accompany his final film, Once Upon a Time in America (1984), he published several articles about his obsessive quest to make the film and how it eventually happened. Most of these writings have never before appeared in English; as a collection they have never before appeared anywhere. Sergio Leone by Himself, compiled by Leone’s acclaimed biographer Christopher Frayling, gathers all his significant interviews, essays and articles to create a director’s-eye view of a body of work that over the past half century has had a decisive influence on world cinema.

The book is illustrated with previously unseen photographs, posters and related ephemera from the Leone family collection and the Angelo Novi archive, both now housed in the Cineteca in Bologna.

The architect of cinema’s American West, Sergio Leone (1929–89) did not speak English. His “spaghetti Westerns” were filmed in Italy and Spain and received both critique and acclaim for their violence, grittiness and camera work. Leone is best remembered for his two “trilogies’’ of films: the Dollars trilogy starring Clint Eastwood and his Once Upon a Time films.

Sergio Leone by Himself
available at actualsource.org

Compiled writings and interviews from the director who pioneered the “spaghetti Western” film genre
Between the worldwide box-office success of his Dollars trilogy and his untimely death in April 1989 at the age of 60, Sergio Leone gave several interviews to selected film journalists. He also wrote a series of thoughtful essays about his cinematic influences such as Charlie Chaplin, Federico Fellini, Henry Fonda, Robert Aldrich and others.

To accompany his final film, Once Upon a Time in America (1984), he published several articles about his obsessive quest to make the film and how it eventually happened. Most of these writings have never before appeared in English; as a collection they have never before appeared anywhere. Sergio Leone by Himself, compiled by Leone’s acclaimed biographer Christopher Frayling, gathers all his significant interviews, essays and articles to create a director’s-eye view of a body of work that over the past half century has had a decisive influence on world cinema.

The book is illustrated with previously unseen photographs, posters and related ephemera from the Leone family collection and the Angelo Novi archive, both now housed in the Cineteca in Bologna.

The architect of cinema’s American West, Sergio Leone (1929–89) did not speak English. His “spaghetti Westerns” were filmed in Italy and Spain and received both critique and acclaim for their violence, grittiness and camera work. Leone is best remembered for his two “trilogies’’ of films: the Dollars trilogy starring Clint Eastwood and his Once Upon a Time films.

Sergio Leone by Himself
available at actualsource.org

Compiled writings and interviews from the director who pioneered the “spaghetti Western” film genre
Between the worldwide box-office success of his Dollars trilogy and his untimely death in April 1989 at the age of 60, Sergio Leone gave several interviews to selected film journalists. He also wrote a series of thoughtful essays about his cinematic influences such as Charlie Chaplin, Federico Fellini, Henry Fonda, Robert Aldrich and others.

To accompany his final film, Once Upon a Time in America (1984), he published several articles about his obsessive quest to make the film and how it eventually happened. Most of these writings have never before appeared in English; as a collection they have never before appeared anywhere. Sergio Leone by Himself, compiled by Leone’s acclaimed biographer Christopher Frayling, gathers all his significant interviews, essays and articles to create a director’s-eye view of a body of work that over the past half century has had a decisive influence on world cinema.

The book is illustrated with previously unseen photographs, posters and related ephemera from the Leone family collection and the Angelo Novi archive, both now housed in the Cineteca in Bologna.

The architect of cinema’s American West, Sergio Leone (1929–89) did not speak English. His “spaghetti Westerns” were filmed in Italy and Spain and received both critique and acclaim for their violence, grittiness and camera work. Leone is best remembered for his two “trilogies’’ of films: the Dollars trilogy starring Clint Eastwood and his Once Upon a Time films.

Sergio Leone by Himself
available at actualsource.org

Compiled writings and interviews from the director who pioneered the “spaghetti Western” film genre
Between the worldwide box-office success of his Dollars trilogy and his untimely death in April 1989 at the age of 60, Sergio Leone gave several interviews to selected film journalists. He also wrote a series of thoughtful essays about his cinematic influences such as Charlie Chaplin, Federico Fellini, Henry Fonda, Robert Aldrich and others.

To accompany his final film, Once Upon a Time in America (1984), he published several articles about his obsessive quest to make the film and how it eventually happened. Most of these writings have never before appeared in English; as a collection they have never before appeared anywhere. Sergio Leone by Himself, compiled by Leone’s acclaimed biographer Christopher Frayling, gathers all his significant interviews, essays and articles to create a director’s-eye view of a body of work that over the past half century has had a decisive influence on world cinema.

The book is illustrated with previously unseen photographs, posters and related ephemera from the Leone family collection and the Angelo Novi archive, both now housed in the Cineteca in Bologna.

The architect of cinema’s American West, Sergio Leone (1929–89) did not speak English. His “spaghetti Westerns” were filmed in Italy and Spain and received both critique and acclaim for their violence, grittiness and camera work. Leone is best remembered for his two “trilogies’’ of films: the Dollars trilogy starring Clint Eastwood and his Once Upon a Time films.

Sergio Leone by Himself
available at actualsource.org

Compiled writings and interviews from the director who pioneered the “spaghetti Western” film genre
Between the worldwide box-office success of his Dollars trilogy and his untimely death in April 1989 at the age of 60, Sergio Leone gave several interviews to selected film journalists. He also wrote a series of thoughtful essays about his cinematic influences such as Charlie Chaplin, Federico Fellini, Henry Fonda, Robert Aldrich and others.

To accompany his final film, Once Upon a Time in America (1984), he published several articles about his obsessive quest to make the film and how it eventually happened. Most of these writings have never before appeared in English; as a collection they have never before appeared anywhere. Sergio Leone by Himself, compiled by Leone’s acclaimed biographer Christopher Frayling, gathers all his significant interviews, essays and articles to create a director’s-eye view of a body of work that over the past half century has had a decisive influence on world cinema.

The book is illustrated with previously unseen photographs, posters and related ephemera from the Leone family collection and the Angelo Novi archive, both now housed in the Cineteca in Bologna.

The architect of cinema’s American West, Sergio Leone (1929–89) did not speak English. His “spaghetti Westerns” were filmed in Italy and Spain and received both critique and acclaim for their violence, grittiness and camera work. Leone is best remembered for his two “trilogies’’ of films: the Dollars trilogy starring Clint Eastwood and his Once Upon a Time films.

Sergio Leone by Himself
available at actualsource.org

Compiled writings and interviews from the director who pioneered the “spaghetti Western” film genre
Between the worldwide box-office success of his Dollars trilogy and his untimely death in April 1989 at the age of 60, Sergio Leone gave several interviews to selected film journalists. He also wrote a series of thoughtful essays about his cinematic influences such as Charlie Chaplin, Federico Fellini, Henry Fonda, Robert Aldrich and others.

To accompany his final film, Once Upon a Time in America (1984), he published several articles about his obsessive quest to make the film and how it eventually happened. Most of these writings have never before appeared in English; as a collection they have never before appeared anywhere. Sergio Leone by Himself, compiled by Leone’s acclaimed biographer Christopher Frayling, gathers all his significant interviews, essays and articles to create a director’s-eye view of a body of work that over the past half century has had a decisive influence on world cinema.

The book is illustrated with previously unseen photographs, posters and related ephemera from the Leone family collection and the Angelo Novi archive, both now housed in the Cineteca in Bologna.

The architect of cinema’s American West, Sergio Leone (1929–89) did not speak English. His “spaghetti Westerns” were filmed in Italy and Spain and received both critique and acclaim for their violence, grittiness and camera work. Leone is best remembered for his two “trilogies’’ of films: the Dollars trilogy starring Clint Eastwood and his Once Upon a Time films.

Sergio Leone by Himself
available at actualsource.org

Compiled writings and interviews from the director who pioneered the “spaghetti Western” film genre
Between the worldwide box-office success of his Dollars trilogy and his untimely death in April 1989 at the age of 60, Sergio Leone gave several interviews to selected film journalists. He also wrote a series of thoughtful essays about his cinematic influences such as Charlie Chaplin, Federico Fellini, Henry Fonda, Robert Aldrich and others.

To accompany his final film, Once Upon a Time in America (1984), he published several articles about his obsessive quest to make the film and how it eventually happened. Most of these writings have never before appeared in English; as a collection they have never before appeared anywhere. Sergio Leone by Himself, compiled by Leone’s acclaimed biographer Christopher Frayling, gathers all his significant interviews, essays and articles to create a director’s-eye view of a body of work that over the past half century has had a decisive influence on world cinema.

The book is illustrated with previously unseen photographs, posters and related ephemera from the Leone family collection and the Angelo Novi archive, both now housed in the Cineteca in Bologna.

The architect of cinema’s American West, Sergio Leone (1929–89) did not speak English. His “spaghetti Westerns” were filmed in Italy and Spain and received both critique and acclaim for their violence, grittiness and camera work. Leone is best remembered for his two “trilogies’’ of films: the Dollars trilogy starring Clint Eastwood and his Once Upon a Time films.

BACK IN STOCK
On the Necessity of Gardening
available at actualsource.org

From Arcadia to Guerilla Gardening, Bomarzo to Little Sparta, Roberto Burle Marx to Fritz Haeg, the Anthropocene to Vibrant Matter: a brilliant and radical A–Z of garden history and garden politics

Organized as an inventive abecedarium, On the Necessity of Gardening tells the story of the garden as a rich source of inspiration.

Over the centuries, artists, writers, poets and thinkers from Capability Brown to Derek Jarman have each described, depicted and designed the garden in different ways. In medieval art the garden was a reflection of paradise, a place of harmony and fertility, shielded from worldly problems. By the 18th century this conception had shifted: the garden had become a symbol of worldly power and politics. Today, the Anthropocene, the era in which humankind dominates nature with disastrous consequences, forces us to radically rethink the role we have given the garden historically. As a result, there is renewed interest in the garden among contemporary makers, thinkers and writers, driven not by romantic desire for retreat but rather a call for a new awareness of our relationship with the earth.

Through essays, illustrations and an extensive abecedarium, On the Necessity of Gardening reflects on the garden as an abiding metaphor for society and culture.
Entries include: Anthropocene, Arcadia, Bouquet, Roberto Burle Marx, Compost, Dumbarton Oaks, Edible Estates, Ermenonville, Ian Hamilton Finlay, Herb Garden, Japanese Garden, Derek Jarman, Kew Gardens, Lawn, Park, Quaker Garden, Queer Ecology, Roots, Vita Sackville-West, Versailles, Vibrant Matter and Zen Garden.
@valiz_books_projects

Muller Van Severen: a lot of work
available at actualsource.org

A Lot of Work is a new monograph dedicated to the work of the restlessly inventive Belgian design studio Muller Van Severen. Shaped by 15 years of seminal practice, it is the first to present Fien Muller and Hannes Van Severen both together and as individual artists, charting the energies of their solo trajectories alongside their shared design language. Approaching the monograph as a collage, the book traces what has unfolded over the past decade and a half, what preceded it, and what may yet come—shaped, as the title suggests, by a lot of work. Raw and ruminative in structure, it draws from their private and public archives to allow ‘images to speak through adjacency rather than explanation’, as Hannes explains in his opening text.

The result ‘feels less like a retrospective and more like a pause’, he writes—‘A breath’. Edited by Nicolás Barreto and Nacho Alegre, co-founder of Apartamento, the book sits somewhere between an art book and something else entirely—an elusive object poised between visual storytelling and asynchronous narrative. A 224-page invitation to witness an oeuvre of design sensibility and all the work behind it, A Lot of Work allows meaning to arise through proximity and contrast, offering a glimpse into how the pair find permission to cut, question, rearrange, and gently unsettle the objects that surround them.

Alongside A Lot of Work comes Silhouettes, a collection of candleholders in 100 percent raw aluminium, created in collaboration with BD Barcelona, to mark Muller Van Severen’s 15th anniversary.
@apartamentomagazine

Muller Van Severen: a lot of work
available at actualsource.org

A Lot of Work is a new monograph dedicated to the work of the restlessly inventive Belgian design studio Muller Van Severen. Shaped by 15 years of seminal practice, it is the first to present Fien Muller and Hannes Van Severen both together and as individual artists, charting the energies of their solo trajectories alongside their shared design language. Approaching the monograph as a collage, the book traces what has unfolded over the past decade and a half, what preceded it, and what may yet come—shaped, as the title suggests, by a lot of work. Raw and ruminative in structure, it draws from their private and public archives to allow ‘images to speak through adjacency rather than explanation’, as Hannes explains in his opening text.

The result ‘feels less like a retrospective and more like a pause’, he writes—‘A breath’. Edited by Nicolás Barreto and Nacho Alegre, co-founder of Apartamento, the book sits somewhere between an art book and something else entirely—an elusive object poised between visual storytelling and asynchronous narrative. A 224-page invitation to witness an oeuvre of design sensibility and all the work behind it, A Lot of Work allows meaning to arise through proximity and contrast, offering a glimpse into how the pair find permission to cut, question, rearrange, and gently unsettle the objects that surround them.

Alongside A Lot of Work comes Silhouettes, a collection of candleholders in 100 percent raw aluminium, created in collaboration with BD Barcelona, to mark Muller Van Severen’s 15th anniversary.
@apartamentomagazine

Muller Van Severen: a lot of work
available at actualsource.org

A Lot of Work is a new monograph dedicated to the work of the restlessly inventive Belgian design studio Muller Van Severen. Shaped by 15 years of seminal practice, it is the first to present Fien Muller and Hannes Van Severen both together and as individual artists, charting the energies of their solo trajectories alongside their shared design language. Approaching the monograph as a collage, the book traces what has unfolded over the past decade and a half, what preceded it, and what may yet come—shaped, as the title suggests, by a lot of work. Raw and ruminative in structure, it draws from their private and public archives to allow ‘images to speak through adjacency rather than explanation’, as Hannes explains in his opening text.

The result ‘feels less like a retrospective and more like a pause’, he writes—‘A breath’. Edited by Nicolás Barreto and Nacho Alegre, co-founder of Apartamento, the book sits somewhere between an art book and something else entirely—an elusive object poised between visual storytelling and asynchronous narrative. A 224-page invitation to witness an oeuvre of design sensibility and all the work behind it, A Lot of Work allows meaning to arise through proximity and contrast, offering a glimpse into how the pair find permission to cut, question, rearrange, and gently unsettle the objects that surround them.

Alongside A Lot of Work comes Silhouettes, a collection of candleholders in 100 percent raw aluminium, created in collaboration with BD Barcelona, to mark Muller Van Severen’s 15th anniversary.
@apartamentomagazine

Muller Van Severen: a lot of work
available at actualsource.org

A Lot of Work is a new monograph dedicated to the work of the restlessly inventive Belgian design studio Muller Van Severen. Shaped by 15 years of seminal practice, it is the first to present Fien Muller and Hannes Van Severen both together and as individual artists, charting the energies of their solo trajectories alongside their shared design language. Approaching the monograph as a collage, the book traces what has unfolded over the past decade and a half, what preceded it, and what may yet come—shaped, as the title suggests, by a lot of work. Raw and ruminative in structure, it draws from their private and public archives to allow ‘images to speak through adjacency rather than explanation’, as Hannes explains in his opening text.

The result ‘feels less like a retrospective and more like a pause’, he writes—‘A breath’. Edited by Nicolás Barreto and Nacho Alegre, co-founder of Apartamento, the book sits somewhere between an art book and something else entirely—an elusive object poised between visual storytelling and asynchronous narrative. A 224-page invitation to witness an oeuvre of design sensibility and all the work behind it, A Lot of Work allows meaning to arise through proximity and contrast, offering a glimpse into how the pair find permission to cut, question, rearrange, and gently unsettle the objects that surround them.

Alongside A Lot of Work comes Silhouettes, a collection of candleholders in 100 percent raw aluminium, created in collaboration with BD Barcelona, to mark Muller Van Severen’s 15th anniversary.
@apartamentomagazine

Muller Van Severen: a lot of work
available at actualsource.org

A Lot of Work is a new monograph dedicated to the work of the restlessly inventive Belgian design studio Muller Van Severen. Shaped by 15 years of seminal practice, it is the first to present Fien Muller and Hannes Van Severen both together and as individual artists, charting the energies of their solo trajectories alongside their shared design language. Approaching the monograph as a collage, the book traces what has unfolded over the past decade and a half, what preceded it, and what may yet come—shaped, as the title suggests, by a lot of work. Raw and ruminative in structure, it draws from their private and public archives to allow ‘images to speak through adjacency rather than explanation’, as Hannes explains in his opening text.

The result ‘feels less like a retrospective and more like a pause’, he writes—‘A breath’. Edited by Nicolás Barreto and Nacho Alegre, co-founder of Apartamento, the book sits somewhere between an art book and something else entirely—an elusive object poised between visual storytelling and asynchronous narrative. A 224-page invitation to witness an oeuvre of design sensibility and all the work behind it, A Lot of Work allows meaning to arise through proximity and contrast, offering a glimpse into how the pair find permission to cut, question, rearrange, and gently unsettle the objects that surround them.

Alongside A Lot of Work comes Silhouettes, a collection of candleholders in 100 percent raw aluminium, created in collaboration with BD Barcelona, to mark Muller Van Severen’s 15th anniversary.
@apartamentomagazine

Muller Van Severen: a lot of work
available at actualsource.org

A Lot of Work is a new monograph dedicated to the work of the restlessly inventive Belgian design studio Muller Van Severen. Shaped by 15 years of seminal practice, it is the first to present Fien Muller and Hannes Van Severen both together and as individual artists, charting the energies of their solo trajectories alongside their shared design language. Approaching the monograph as a collage, the book traces what has unfolded over the past decade and a half, what preceded it, and what may yet come—shaped, as the title suggests, by a lot of work. Raw and ruminative in structure, it draws from their private and public archives to allow ‘images to speak through adjacency rather than explanation’, as Hannes explains in his opening text.

The result ‘feels less like a retrospective and more like a pause’, he writes—‘A breath’. Edited by Nicolás Barreto and Nacho Alegre, co-founder of Apartamento, the book sits somewhere between an art book and something else entirely—an elusive object poised between visual storytelling and asynchronous narrative. A 224-page invitation to witness an oeuvre of design sensibility and all the work behind it, A Lot of Work allows meaning to arise through proximity and contrast, offering a glimpse into how the pair find permission to cut, question, rearrange, and gently unsettle the objects that surround them.

Alongside A Lot of Work comes Silhouettes, a collection of candleholders in 100 percent raw aluminium, created in collaboration with BD Barcelona, to mark Muller Van Severen’s 15th anniversary.
@apartamentomagazine

Muller Van Severen: a lot of work
available at actualsource.org

A Lot of Work is a new monograph dedicated to the work of the restlessly inventive Belgian design studio Muller Van Severen. Shaped by 15 years of seminal practice, it is the first to present Fien Muller and Hannes Van Severen both together and as individual artists, charting the energies of their solo trajectories alongside their shared design language. Approaching the monograph as a collage, the book traces what has unfolded over the past decade and a half, what preceded it, and what may yet come—shaped, as the title suggests, by a lot of work. Raw and ruminative in structure, it draws from their private and public archives to allow ‘images to speak through adjacency rather than explanation’, as Hannes explains in his opening text.

The result ‘feels less like a retrospective and more like a pause’, he writes—‘A breath’. Edited by Nicolás Barreto and Nacho Alegre, co-founder of Apartamento, the book sits somewhere between an art book and something else entirely—an elusive object poised between visual storytelling and asynchronous narrative. A 224-page invitation to witness an oeuvre of design sensibility and all the work behind it, A Lot of Work allows meaning to arise through proximity and contrast, offering a glimpse into how the pair find permission to cut, question, rearrange, and gently unsettle the objects that surround them.

Alongside A Lot of Work comes Silhouettes, a collection of candleholders in 100 percent raw aluminium, created in collaboration with BD Barcelona, to mark Muller Van Severen’s 15th anniversary.
@apartamentomagazine

Muller Van Severen: a lot of work
available at actualsource.org

A Lot of Work is a new monograph dedicated to the work of the restlessly inventive Belgian design studio Muller Van Severen. Shaped by 15 years of seminal practice, it is the first to present Fien Muller and Hannes Van Severen both together and as individual artists, charting the energies of their solo trajectories alongside their shared design language. Approaching the monograph as a collage, the book traces what has unfolded over the past decade and a half, what preceded it, and what may yet come—shaped, as the title suggests, by a lot of work. Raw and ruminative in structure, it draws from their private and public archives to allow ‘images to speak through adjacency rather than explanation’, as Hannes explains in his opening text.

The result ‘feels less like a retrospective and more like a pause’, he writes—‘A breath’. Edited by Nicolás Barreto and Nacho Alegre, co-founder of Apartamento, the book sits somewhere between an art book and something else entirely—an elusive object poised between visual storytelling and asynchronous narrative. A 224-page invitation to witness an oeuvre of design sensibility and all the work behind it, A Lot of Work allows meaning to arise through proximity and contrast, offering a glimpse into how the pair find permission to cut, question, rearrange, and gently unsettle the objects that surround them.

Alongside A Lot of Work comes Silhouettes, a collection of candleholders in 100 percent raw aluminium, created in collaboration with BD Barcelona, to mark Muller Van Severen’s 15th anniversary.
@apartamentomagazine

Muller Van Severen: a lot of work
available at actualsource.org

A Lot of Work is a new monograph dedicated to the work of the restlessly inventive Belgian design studio Muller Van Severen. Shaped by 15 years of seminal practice, it is the first to present Fien Muller and Hannes Van Severen both together and as individual artists, charting the energies of their solo trajectories alongside their shared design language. Approaching the monograph as a collage, the book traces what has unfolded over the past decade and a half, what preceded it, and what may yet come—shaped, as the title suggests, by a lot of work. Raw and ruminative in structure, it draws from their private and public archives to allow ‘images to speak through adjacency rather than explanation’, as Hannes explains in his opening text.

The result ‘feels less like a retrospective and more like a pause’, he writes—‘A breath’. Edited by Nicolás Barreto and Nacho Alegre, co-founder of Apartamento, the book sits somewhere between an art book and something else entirely—an elusive object poised between visual storytelling and asynchronous narrative. A 224-page invitation to witness an oeuvre of design sensibility and all the work behind it, A Lot of Work allows meaning to arise through proximity and contrast, offering a glimpse into how the pair find permission to cut, question, rearrange, and gently unsettle the objects that surround them.

Alongside A Lot of Work comes Silhouettes, a collection of candleholders in 100 percent raw aluminium, created in collaboration with BD Barcelona, to mark Muller Van Severen’s 15th anniversary.
@apartamentomagazine

Muller Van Severen: a lot of work
available at actualsource.org

A Lot of Work is a new monograph dedicated to the work of the restlessly inventive Belgian design studio Muller Van Severen. Shaped by 15 years of seminal practice, it is the first to present Fien Muller and Hannes Van Severen both together and as individual artists, charting the energies of their solo trajectories alongside their shared design language. Approaching the monograph as a collage, the book traces what has unfolded over the past decade and a half, what preceded it, and what may yet come—shaped, as the title suggests, by a lot of work. Raw and ruminative in structure, it draws from their private and public archives to allow ‘images to speak through adjacency rather than explanation’, as Hannes explains in his opening text.

The result ‘feels less like a retrospective and more like a pause’, he writes—‘A breath’. Edited by Nicolás Barreto and Nacho Alegre, co-founder of Apartamento, the book sits somewhere between an art book and something else entirely—an elusive object poised between visual storytelling and asynchronous narrative. A 224-page invitation to witness an oeuvre of design sensibility and all the work behind it, A Lot of Work allows meaning to arise through proximity and contrast, offering a glimpse into how the pair find permission to cut, question, rearrange, and gently unsettle the objects that surround them.

Alongside A Lot of Work comes Silhouettes, a collection of candleholders in 100 percent raw aluminium, created in collaboration with BD Barcelona, to mark Muller Van Severen’s 15th anniversary.
@apartamentomagazine

Muller Van Severen: a lot of work
available at actualsource.org

A Lot of Work is a new monograph dedicated to the work of the restlessly inventive Belgian design studio Muller Van Severen. Shaped by 15 years of seminal practice, it is the first to present Fien Muller and Hannes Van Severen both together and as individual artists, charting the energies of their solo trajectories alongside their shared design language. Approaching the monograph as a collage, the book traces what has unfolded over the past decade and a half, what preceded it, and what may yet come—shaped, as the title suggests, by a lot of work. Raw and ruminative in structure, it draws from their private and public archives to allow ‘images to speak through adjacency rather than explanation’, as Hannes explains in his opening text.

The result ‘feels less like a retrospective and more like a pause’, he writes—‘A breath’. Edited by Nicolás Barreto and Nacho Alegre, co-founder of Apartamento, the book sits somewhere between an art book and something else entirely—an elusive object poised between visual storytelling and asynchronous narrative. A 224-page invitation to witness an oeuvre of design sensibility and all the work behind it, A Lot of Work allows meaning to arise through proximity and contrast, offering a glimpse into how the pair find permission to cut, question, rearrange, and gently unsettle the objects that surround them.

Alongside A Lot of Work comes Silhouettes, a collection of candleholders in 100 percent raw aluminium, created in collaboration with BD Barcelona, to mark Muller Van Severen’s 15th anniversary.
@apartamentomagazine

RESTOCK
Ball Is Life Crew (Chocolate)
available at actualsource.org

Made in USA
1 Color Screen Print
Basketball drawing by JP Haynie
14oz heavyweight fleece

RESTOCK
Ball Is Life Crew (Chocolate)
available at actualsource.org

Made in USA
1 Color Screen Print
Basketball drawing by JP Haynie
14oz heavyweight fleece

RESTOCK
Ball Is Life Crew (Chocolate)
available at actualsource.org

Made in USA
1 Color Screen Print
Basketball drawing by JP Haynie
14oz heavyweight fleece

Mothering Myths: An ABC of Art, Birth and Care
available at actualsource.org

Rooted in the visual arts, this book gathers a multitude of voices on the theme of motherhood. Though central to the core of all life, the topic of motherhood has long been relegated to the private domain. Within the art world, depictions of motherhood have also been fraught. From the Middle Ages to the 20th century, Mary was depicted as the “primal mother.” Mothers were idealized in Western art, often as women who sacrifice themselves for the good of their children. Moreover, these idealized depictions were usually made by men. In modern and contemporary art, motherhood has been considered trivial and insignificant, not a subject for great art.

Artist Lise Halle Baggesen, in her extensive art project Mothernism, describes a “mother-shaped hole”: a black hole in the history of art when it comes to the depiction of maternal care. To this day, that cliché is still largely transmitted to female artists in art school. Young women artists often receive the message that they should not make “womb art” and that motherhood is not an interesting theme for good art. As an artist with a womb, you are often told to choose between artistry and motherhood because both require a full commitment which would make them incompatible.

Following the format of the previously published On the Necessity of Gardening, Mothering Myths starts from the same base: an abecedary intersected by longer essays. The abecedarium gathers fragments of shorter texts that together offer a layered and wide-ranging perspective on the meaning of motherhood, including selections by Tracey Emin, Paul B. Preciado, Sheila Heti, Angela Davis, Simone de Beauvoir, Anne Sexton, Louise Bourgeois, Julie Phillips, Hettie Judah, Maggie Nelson, Linda Nochlin, Susan Griffin, Silvia Federici, Sinéad Gleeson, James Baldwin, Nick Cave, Audre Lorde, Élisabeth Badinter, Sarah Jaffe, Ocean Vuong, Elena Ferrante, Jane Lazarre, Torrey Peters and Rachel Cusk.
@valiz_books_projects

Mothering Myths: An ABC of Art, Birth and Care
available at actualsource.org

Rooted in the visual arts, this book gathers a multitude of voices on the theme of motherhood. Though central to the core of all life, the topic of motherhood has long been relegated to the private domain. Within the art world, depictions of motherhood have also been fraught. From the Middle Ages to the 20th century, Mary was depicted as the “primal mother.” Mothers were idealized in Western art, often as women who sacrifice themselves for the good of their children. Moreover, these idealized depictions were usually made by men. In modern and contemporary art, motherhood has been considered trivial and insignificant, not a subject for great art.

Artist Lise Halle Baggesen, in her extensive art project Mothernism, describes a “mother-shaped hole”: a black hole in the history of art when it comes to the depiction of maternal care. To this day, that cliché is still largely transmitted to female artists in art school. Young women artists often receive the message that they should not make “womb art” and that motherhood is not an interesting theme for good art. As an artist with a womb, you are often told to choose between artistry and motherhood because both require a full commitment which would make them incompatible.

Following the format of the previously published On the Necessity of Gardening, Mothering Myths starts from the same base: an abecedary intersected by longer essays. The abecedarium gathers fragments of shorter texts that together offer a layered and wide-ranging perspective on the meaning of motherhood, including selections by Tracey Emin, Paul B. Preciado, Sheila Heti, Angela Davis, Simone de Beauvoir, Anne Sexton, Louise Bourgeois, Julie Phillips, Hettie Judah, Maggie Nelson, Linda Nochlin, Susan Griffin, Silvia Federici, Sinéad Gleeson, James Baldwin, Nick Cave, Audre Lorde, Élisabeth Badinter, Sarah Jaffe, Ocean Vuong, Elena Ferrante, Jane Lazarre, Torrey Peters and Rachel Cusk.
@valiz_books_projects

Mothering Myths: An ABC of Art, Birth and Care
available at actualsource.org

Rooted in the visual arts, this book gathers a multitude of voices on the theme of motherhood. Though central to the core of all life, the topic of motherhood has long been relegated to the private domain. Within the art world, depictions of motherhood have also been fraught. From the Middle Ages to the 20th century, Mary was depicted as the “primal mother.” Mothers were idealized in Western art, often as women who sacrifice themselves for the good of their children. Moreover, these idealized depictions were usually made by men. In modern and contemporary art, motherhood has been considered trivial and insignificant, not a subject for great art.

Artist Lise Halle Baggesen, in her extensive art project Mothernism, describes a “mother-shaped hole”: a black hole in the history of art when it comes to the depiction of maternal care. To this day, that cliché is still largely transmitted to female artists in art school. Young women artists often receive the message that they should not make “womb art” and that motherhood is not an interesting theme for good art. As an artist with a womb, you are often told to choose between artistry and motherhood because both require a full commitment which would make them incompatible.

Following the format of the previously published On the Necessity of Gardening, Mothering Myths starts from the same base: an abecedary intersected by longer essays. The abecedarium gathers fragments of shorter texts that together offer a layered and wide-ranging perspective on the meaning of motherhood, including selections by Tracey Emin, Paul B. Preciado, Sheila Heti, Angela Davis, Simone de Beauvoir, Anne Sexton, Louise Bourgeois, Julie Phillips, Hettie Judah, Maggie Nelson, Linda Nochlin, Susan Griffin, Silvia Federici, Sinéad Gleeson, James Baldwin, Nick Cave, Audre Lorde, Élisabeth Badinter, Sarah Jaffe, Ocean Vuong, Elena Ferrante, Jane Lazarre, Torrey Peters and Rachel Cusk.
@valiz_books_projects

Mothering Myths: An ABC of Art, Birth and Care
available at actualsource.org

Rooted in the visual arts, this book gathers a multitude of voices on the theme of motherhood. Though central to the core of all life, the topic of motherhood has long been relegated to the private domain. Within the art world, depictions of motherhood have also been fraught. From the Middle Ages to the 20th century, Mary was depicted as the “primal mother.” Mothers were idealized in Western art, often as women who sacrifice themselves for the good of their children. Moreover, these idealized depictions were usually made by men. In modern and contemporary art, motherhood has been considered trivial and insignificant, not a subject for great art.

Artist Lise Halle Baggesen, in her extensive art project Mothernism, describes a “mother-shaped hole”: a black hole in the history of art when it comes to the depiction of maternal care. To this day, that cliché is still largely transmitted to female artists in art school. Young women artists often receive the message that they should not make “womb art” and that motherhood is not an interesting theme for good art. As an artist with a womb, you are often told to choose between artistry and motherhood because both require a full commitment which would make them incompatible.

Following the format of the previously published On the Necessity of Gardening, Mothering Myths starts from the same base: an abecedary intersected by longer essays. The abecedarium gathers fragments of shorter texts that together offer a layered and wide-ranging perspective on the meaning of motherhood, including selections by Tracey Emin, Paul B. Preciado, Sheila Heti, Angela Davis, Simone de Beauvoir, Anne Sexton, Louise Bourgeois, Julie Phillips, Hettie Judah, Maggie Nelson, Linda Nochlin, Susan Griffin, Silvia Federici, Sinéad Gleeson, James Baldwin, Nick Cave, Audre Lorde, Élisabeth Badinter, Sarah Jaffe, Ocean Vuong, Elena Ferrante, Jane Lazarre, Torrey Peters and Rachel Cusk.
@valiz_books_projects

Mothering Myths: An ABC of Art, Birth and Care
available at actualsource.org

Rooted in the visual arts, this book gathers a multitude of voices on the theme of motherhood. Though central to the core of all life, the topic of motherhood has long been relegated to the private domain. Within the art world, depictions of motherhood have also been fraught. From the Middle Ages to the 20th century, Mary was depicted as the “primal mother.” Mothers were idealized in Western art, often as women who sacrifice themselves for the good of their children. Moreover, these idealized depictions were usually made by men. In modern and contemporary art, motherhood has been considered trivial and insignificant, not a subject for great art.

Artist Lise Halle Baggesen, in her extensive art project Mothernism, describes a “mother-shaped hole”: a black hole in the history of art when it comes to the depiction of maternal care. To this day, that cliché is still largely transmitted to female artists in art school. Young women artists often receive the message that they should not make “womb art” and that motherhood is not an interesting theme for good art. As an artist with a womb, you are often told to choose between artistry and motherhood because both require a full commitment which would make them incompatible.

Following the format of the previously published On the Necessity of Gardening, Mothering Myths starts from the same base: an abecedary intersected by longer essays. The abecedarium gathers fragments of shorter texts that together offer a layered and wide-ranging perspective on the meaning of motherhood, including selections by Tracey Emin, Paul B. Preciado, Sheila Heti, Angela Davis, Simone de Beauvoir, Anne Sexton, Louise Bourgeois, Julie Phillips, Hettie Judah, Maggie Nelson, Linda Nochlin, Susan Griffin, Silvia Federici, Sinéad Gleeson, James Baldwin, Nick Cave, Audre Lorde, Élisabeth Badinter, Sarah Jaffe, Ocean Vuong, Elena Ferrante, Jane Lazarre, Torrey Peters and Rachel Cusk.
@valiz_books_projects

Mothering Myths: An ABC of Art, Birth and Care
available at actualsource.org

Rooted in the visual arts, this book gathers a multitude of voices on the theme of motherhood. Though central to the core of all life, the topic of motherhood has long been relegated to the private domain. Within the art world, depictions of motherhood have also been fraught. From the Middle Ages to the 20th century, Mary was depicted as the “primal mother.” Mothers were idealized in Western art, often as women who sacrifice themselves for the good of their children. Moreover, these idealized depictions were usually made by men. In modern and contemporary art, motherhood has been considered trivial and insignificant, not a subject for great art.

Artist Lise Halle Baggesen, in her extensive art project Mothernism, describes a “mother-shaped hole”: a black hole in the history of art when it comes to the depiction of maternal care. To this day, that cliché is still largely transmitted to female artists in art school. Young women artists often receive the message that they should not make “womb art” and that motherhood is not an interesting theme for good art. As an artist with a womb, you are often told to choose between artistry and motherhood because both require a full commitment which would make them incompatible.

Following the format of the previously published On the Necessity of Gardening, Mothering Myths starts from the same base: an abecedary intersected by longer essays. The abecedarium gathers fragments of shorter texts that together offer a layered and wide-ranging perspective on the meaning of motherhood, including selections by Tracey Emin, Paul B. Preciado, Sheila Heti, Angela Davis, Simone de Beauvoir, Anne Sexton, Louise Bourgeois, Julie Phillips, Hettie Judah, Maggie Nelson, Linda Nochlin, Susan Griffin, Silvia Federici, Sinéad Gleeson, James Baldwin, Nick Cave, Audre Lorde, Élisabeth Badinter, Sarah Jaffe, Ocean Vuong, Elena Ferrante, Jane Lazarre, Torrey Peters and Rachel Cusk.
@valiz_books_projects

Mothering Myths: An ABC of Art, Birth and Care
available at actualsource.org

Rooted in the visual arts, this book gathers a multitude of voices on the theme of motherhood. Though central to the core of all life, the topic of motherhood has long been relegated to the private domain. Within the art world, depictions of motherhood have also been fraught. From the Middle Ages to the 20th century, Mary was depicted as the “primal mother.” Mothers were idealized in Western art, often as women who sacrifice themselves for the good of their children. Moreover, these idealized depictions were usually made by men. In modern and contemporary art, motherhood has been considered trivial and insignificant, not a subject for great art.

Artist Lise Halle Baggesen, in her extensive art project Mothernism, describes a “mother-shaped hole”: a black hole in the history of art when it comes to the depiction of maternal care. To this day, that cliché is still largely transmitted to female artists in art school. Young women artists often receive the message that they should not make “womb art” and that motherhood is not an interesting theme for good art. As an artist with a womb, you are often told to choose between artistry and motherhood because both require a full commitment which would make them incompatible.

Following the format of the previously published On the Necessity of Gardening, Mothering Myths starts from the same base: an abecedary intersected by longer essays. The abecedarium gathers fragments of shorter texts that together offer a layered and wide-ranging perspective on the meaning of motherhood, including selections by Tracey Emin, Paul B. Preciado, Sheila Heti, Angela Davis, Simone de Beauvoir, Anne Sexton, Louise Bourgeois, Julie Phillips, Hettie Judah, Maggie Nelson, Linda Nochlin, Susan Griffin, Silvia Federici, Sinéad Gleeson, James Baldwin, Nick Cave, Audre Lorde, Élisabeth Badinter, Sarah Jaffe, Ocean Vuong, Elena Ferrante, Jane Lazarre, Torrey Peters and Rachel Cusk.
@valiz_books_projects

Mothering Myths: An ABC of Art, Birth and Care
available at actualsource.org

Rooted in the visual arts, this book gathers a multitude of voices on the theme of motherhood. Though central to the core of all life, the topic of motherhood has long been relegated to the private domain. Within the art world, depictions of motherhood have also been fraught. From the Middle Ages to the 20th century, Mary was depicted as the “primal mother.” Mothers were idealized in Western art, often as women who sacrifice themselves for the good of their children. Moreover, these idealized depictions were usually made by men. In modern and contemporary art, motherhood has been considered trivial and insignificant, not a subject for great art.

Artist Lise Halle Baggesen, in her extensive art project Mothernism, describes a “mother-shaped hole”: a black hole in the history of art when it comes to the depiction of maternal care. To this day, that cliché is still largely transmitted to female artists in art school. Young women artists often receive the message that they should not make “womb art” and that motherhood is not an interesting theme for good art. As an artist with a womb, you are often told to choose between artistry and motherhood because both require a full commitment which would make them incompatible.

Following the format of the previously published On the Necessity of Gardening, Mothering Myths starts from the same base: an abecedary intersected by longer essays. The abecedarium gathers fragments of shorter texts that together offer a layered and wide-ranging perspective on the meaning of motherhood, including selections by Tracey Emin, Paul B. Preciado, Sheila Heti, Angela Davis, Simone de Beauvoir, Anne Sexton, Louise Bourgeois, Julie Phillips, Hettie Judah, Maggie Nelson, Linda Nochlin, Susan Griffin, Silvia Federici, Sinéad Gleeson, James Baldwin, Nick Cave, Audre Lorde, Élisabeth Badinter, Sarah Jaffe, Ocean Vuong, Elena Ferrante, Jane Lazarre, Torrey Peters and Rachel Cusk.
@valiz_books_projects

Mothering Myths: An ABC of Art, Birth and Care
available at actualsource.org

Rooted in the visual arts, this book gathers a multitude of voices on the theme of motherhood. Though central to the core of all life, the topic of motherhood has long been relegated to the private domain. Within the art world, depictions of motherhood have also been fraught. From the Middle Ages to the 20th century, Mary was depicted as the “primal mother.” Mothers were idealized in Western art, often as women who sacrifice themselves for the good of their children. Moreover, these idealized depictions were usually made by men. In modern and contemporary art, motherhood has been considered trivial and insignificant, not a subject for great art.

Artist Lise Halle Baggesen, in her extensive art project Mothernism, describes a “mother-shaped hole”: a black hole in the history of art when it comes to the depiction of maternal care. To this day, that cliché is still largely transmitted to female artists in art school. Young women artists often receive the message that they should not make “womb art” and that motherhood is not an interesting theme for good art. As an artist with a womb, you are often told to choose between artistry and motherhood because both require a full commitment which would make them incompatible.

Following the format of the previously published On the Necessity of Gardening, Mothering Myths starts from the same base: an abecedary intersected by longer essays. The abecedarium gathers fragments of shorter texts that together offer a layered and wide-ranging perspective on the meaning of motherhood, including selections by Tracey Emin, Paul B. Preciado, Sheila Heti, Angela Davis, Simone de Beauvoir, Anne Sexton, Louise Bourgeois, Julie Phillips, Hettie Judah, Maggie Nelson, Linda Nochlin, Susan Griffin, Silvia Federici, Sinéad Gleeson, James Baldwin, Nick Cave, Audre Lorde, Élisabeth Badinter, Sarah Jaffe, Ocean Vuong, Elena Ferrante, Jane Lazarre, Torrey Peters and Rachel Cusk.
@valiz_books_projects

Mothering Myths: An ABC of Art, Birth and Care
available at actualsource.org

Rooted in the visual arts, this book gathers a multitude of voices on the theme of motherhood. Though central to the core of all life, the topic of motherhood has long been relegated to the private domain. Within the art world, depictions of motherhood have also been fraught. From the Middle Ages to the 20th century, Mary was depicted as the “primal mother.” Mothers were idealized in Western art, often as women who sacrifice themselves for the good of their children. Moreover, these idealized depictions were usually made by men. In modern and contemporary art, motherhood has been considered trivial and insignificant, not a subject for great art.

Artist Lise Halle Baggesen, in her extensive art project Mothernism, describes a “mother-shaped hole”: a black hole in the history of art when it comes to the depiction of maternal care. To this day, that cliché is still largely transmitted to female artists in art school. Young women artists often receive the message that they should not make “womb art” and that motherhood is not an interesting theme for good art. As an artist with a womb, you are often told to choose between artistry and motherhood because both require a full commitment which would make them incompatible.

Following the format of the previously published On the Necessity of Gardening, Mothering Myths starts from the same base: an abecedary intersected by longer essays. The abecedarium gathers fragments of shorter texts that together offer a layered and wide-ranging perspective on the meaning of motherhood, including selections by Tracey Emin, Paul B. Preciado, Sheila Heti, Angela Davis, Simone de Beauvoir, Anne Sexton, Louise Bourgeois, Julie Phillips, Hettie Judah, Maggie Nelson, Linda Nochlin, Susan Griffin, Silvia Federici, Sinéad Gleeson, James Baldwin, Nick Cave, Audre Lorde, Élisabeth Badinter, Sarah Jaffe, Ocean Vuong, Elena Ferrante, Jane Lazarre, Torrey Peters and Rachel Cusk.
@valiz_books_projects

Mothering Myths: An ABC of Art, Birth and Care
available at actualsource.org

Rooted in the visual arts, this book gathers a multitude of voices on the theme of motherhood. Though central to the core of all life, the topic of motherhood has long been relegated to the private domain. Within the art world, depictions of motherhood have also been fraught. From the Middle Ages to the 20th century, Mary was depicted as the “primal mother.” Mothers were idealized in Western art, often as women who sacrifice themselves for the good of their children. Moreover, these idealized depictions were usually made by men. In modern and contemporary art, motherhood has been considered trivial and insignificant, not a subject for great art.

Artist Lise Halle Baggesen, in her extensive art project Mothernism, describes a “mother-shaped hole”: a black hole in the history of art when it comes to the depiction of maternal care. To this day, that cliché is still largely transmitted to female artists in art school. Young women artists often receive the message that they should not make “womb art” and that motherhood is not an interesting theme for good art. As an artist with a womb, you are often told to choose between artistry and motherhood because both require a full commitment which would make them incompatible.

Following the format of the previously published On the Necessity of Gardening, Mothering Myths starts from the same base: an abecedary intersected by longer essays. The abecedarium gathers fragments of shorter texts that together offer a layered and wide-ranging perspective on the meaning of motherhood, including selections by Tracey Emin, Paul B. Preciado, Sheila Heti, Angela Davis, Simone de Beauvoir, Anne Sexton, Louise Bourgeois, Julie Phillips, Hettie Judah, Maggie Nelson, Linda Nochlin, Susan Griffin, Silvia Federici, Sinéad Gleeson, James Baldwin, Nick Cave, Audre Lorde, Élisabeth Badinter, Sarah Jaffe, Ocean Vuong, Elena Ferrante, Jane Lazarre, Torrey Peters and Rachel Cusk.
@valiz_books_projects

J Dilla: Donuts
available at actualsource.org

Donuts began simply enough as an idea to turn a particularly good demo beat tape into a full-length release, and has since became a classic hip-hop album, one of the defining works of J Dilla’s life.  

Completed during a year in which J Dilla spent in and out of Cedars-Sinai Medical Center in Los Angeles, and released on his birthday Feb. 7, 2006, Donuts would gain particular poignancy when the producer died on Feb. 10, 2006.
Vinyl 2 LP

@stonesthrow

J Dilla: Donuts
available at actualsource.org

Donuts began simply enough as an idea to turn a particularly good demo beat tape into a full-length release, and has since became a classic hip-hop album, one of the defining works of J Dilla’s life.  

Completed during a year in which J Dilla spent in and out of Cedars-Sinai Medical Center in Los Angeles, and released on his birthday Feb. 7, 2006, Donuts would gain particular poignancy when the producer died on Feb. 10, 2006.
Vinyl 2 LP

@stonesthrow

ComfyBoy Special Denim
available at actualsource.org

Upgraded CB technology (flexible) visor.
Denim 6 panel structure
Actual Source embroidery.
Leather adjustable metal closure
Satin Label
Designed by Actual Source

ComfyBoy Special Denim
available at actualsource.org

Upgraded CB technology (flexible) visor.
Denim 6 panel structure
Actual Source embroidery.
Leather adjustable metal closure
Satin Label
Designed by Actual Source

ComfyBoy Special Denim
available at actualsource.org

Upgraded CB technology (flexible) visor.
Denim 6 panel structure
Actual Source embroidery.
Leather adjustable metal closure
Satin Label
Designed by Actual Source

ComfyBoy Special Denim
available at actualsource.org

Upgraded CB technology (flexible) visor.
Denim 6 panel structure
Actual Source embroidery.
Leather adjustable metal closure
Satin Label
Designed by Actual Source

BACK IN STOCK
16 MM Circular Masking Tape Patches Shuffle - Mixed Colors
available at actualsource.org

Use these colorful stickers for decoration or to call attention to important points in your notes and planners. Each sticker is made of Japanese washi paper, which is thin, strong, and can easily be removed and repositioned. The stickers can be written on, so you can use them to make checklists and then write directly on the stickers to mark completed items.

Features:
This pack includes 10 sheets of 18 stickers each, for a total of 180 stickers.
The stickers are approximately 1.6 cm in diameter.
The sheets are 7.5 cm x 12.5 cm.
The stickers are made in Japan.

BACK IN STOCK
16 MM Circular Masking Tape Patches Shuffle - Mixed Colors
available at actualsource.org

Use these colorful stickers for decoration or to call attention to important points in your notes and planners. Each sticker is made of Japanese washi paper, which is thin, strong, and can easily be removed and repositioned. The stickers can be written on, so you can use them to make checklists and then write directly on the stickers to mark completed items.

Features:
This pack includes 10 sheets of 18 stickers each, for a total of 180 stickers.
The stickers are approximately 1.6 cm in diameter.
The sheets are 7.5 cm x 12.5 cm.
The stickers are made in Japan.

BACK IN STOCK
16 MM Circular Masking Tape Patches Shuffle - Mixed Colors
available at actualsource.org

Use these colorful stickers for decoration or to call attention to important points in your notes and planners. Each sticker is made of Japanese washi paper, which is thin, strong, and can easily be removed and repositioned. The stickers can be written on, so you can use them to make checklists and then write directly on the stickers to mark completed items.

Features:
This pack includes 10 sheets of 18 stickers each, for a total of 180 stickers.
The stickers are approximately 1.6 cm in diameter.
The sheets are 7.5 cm x 12.5 cm.
The stickers are made in Japan.

BACK IN STOCK
16 MM Circular Masking Tape Patches Shuffle - Mixed Colors
available at actualsource.org

Use these colorful stickers for decoration or to call attention to important points in your notes and planners. Each sticker is made of Japanese washi paper, which is thin, strong, and can easily be removed and repositioned. The stickers can be written on, so you can use them to make checklists and then write directly on the stickers to mark completed items.

Features:
This pack includes 10 sheets of 18 stickers each, for a total of 180 stickers.
The stickers are approximately 1.6 cm in diameter.
The sheets are 7.5 cm x 12.5 cm.
The stickers are made in Japan.