capricious llc us (14 resultados)

Paperback. Condición: New. Tuesday or September or The End by Hannah Black is an incisive and playful work of speculative fiction that explores the rupture year of 2020, when aliens finally invaded. Hannah Black is an artist and writer from the UK. She lives in New York. She has written for a number of publications including The New Inquiry, Artforum, and Bookforum. Her previous books include Dark Pool Party (2016) and Life (2017, with Juliana Huxtable). She is represented by the galleries Arcadia Missa in London and Isabella Bortolozzi in Berlin. Praise for Tuesday or September or the End: Tuesday or September or the End puts calendar time back into messianic time, and also the reverse. An account of the last two disorienting years in history, in our lives, this intimate and funny and abstract fiction uses fable, and unreality, to flood a reader with the real, to remind her what is at stake. - Rachel KushnerAllegory and satire, alert and conscious, Hannah Black's Tuesday or September or the End, is an existential novel. Narrative innocence is not the engine of this work; knowledge of life in the modern is. Bird and Dog, Black's wide awake and dreaming characters, are electric and wise. This novel is fluent in our dystopia and utopia. - Dionne BrandAn acid calendar of planetary rot and revolt, Hannah Black's new novel listens for that alien language of the future: total social transformation. Staging debates on communism and social democracy, or unraveling the double helix of race and capitalism, Black's calendar is one that breathes and breaks, figuring the temporal hiccups of revolution. Suddenly it's no longer endless winter and our narrator Bird, much like chirping in early spring, brings us to witness the reanimation of the world. - Greg NissanIn Tuesday or September or the End, we see ourselves battered by time, which isn't real, and chance, which is. But just as "the world resists its reduction to winter," Hannah Black's writing, in its passionate grasp of possibility, resists spiritual suicide. The book is deeply felt because the pain of attachment is close to its center and funny because life is currently absurd. But what I love most about it, reading its compact brilliant sentences in this sunless covid afternoon, is the way it makes an argument for clarity, which really can-partially, briefly, and when it matters most-sometimes be achieved. - Benjamin Krusling.

Paperback. Condición: New. Tuesday or September or The End by Hannah Black is an incisive and playful work of speculative fiction that explores the rupture year of 2020, when aliens finally invaded. Hannah Black is an artist and writer from the UK. She lives in New York. She has written for a number of publications including The New Inquiry, Artforum, and Bookforum. Her previous books include Dark Pool Party (2016) and Life (2017, with Juliana Huxtable). She is represented by the galleries Arcadia Missa in London and Isabella Bortolozzi in Berlin. Praise for Tuesday or September or the End: Tuesday or September or the End puts calendar time back into messianic time, and also the reverse. An account of the last two disorienting years in history, in our lives, this intimate and funny and abstract fiction uses fable, and unreality, to flood a reader with the real, to remind her what is at stake. - Rachel KushnerAllegory and satire, alert and conscious, Hannah Black's Tuesday or September or the End, is an existential novel. Narrative innocence is not the engine of this work; knowledge of life in the modern is. Bird and Dog, Black's wide awake and dreaming characters, are electric and wise. This novel is fluent in our dystopia and utopia. - Dionne BrandAn acid calendar of planetary rot and revolt, Hannah Black's new novel listens for that alien language of the future: total social transformation. Staging debates on communism and social democracy, or unraveling the double helix of race and capitalism, Black's calendar is one that breathes and breaks, figuring the temporal hiccups of revolution. Suddenly it's no longer endless winter and our narrator Bird, much like chirping in early spring, brings us to witness the reanimation of the world. - Greg NissanIn Tuesday or September or the End, we see ourselves battered by time, which isn't real, and chance, which is. But just as "the world resists its reduction to winter," Hannah Black's writing, in its passionate grasp of possibility, resists spiritual suicide. The book is deeply felt because the pain of attachment is close to its center and funny because life is currently absurd. But what I love most about it, reading its compact brilliant sentences in this sunless covid afternoon, is the way it makes an argument for clarity, which really can-partially, briefly, and when it matters most-sometimes be achieved. - Benjamin Krusling.

Paperback. Condición: New. A dual catalogue and archival exposé that explores the pivotal exhibition, Coming to Power: 25 Years of Sexually X-Plicit Art By Women, originally curated by the late artist, Ellen Cantor, in 1993, along with its re-staging in 2016 by curator Pati Hertling and artist, Julie Tolentino. The book also chronicles the unprecedented partnership amongst five New York City institutions. Exhibitions and programming of Cantor's work were offered by 80WSWE, Maccarone, Foxy Productions, Participant Inc. , Electronic Arts Intermix (EAI), Skowhegan School of Painting, and MOMA-highlighting the lush, visionary, and audacious aspects of Cantor's drawings, paintings, curatorial projects, sculpture, assemblage, video, film, and evocative writing. Another section features a reprint of an interview between Cantor and Cerith Wyn Evans, a conversation between Lia Gangitano/Jonathan Berger and Julie Tolentino/Pati Hertling, as well as archival material from Cantor's diary entries and never-seen sketches from Cantor's personal papers. LIST OF ARTISTS: PAINTING/SCULPTURE/PHOTOGRAPHS: Lynda Benglis, Judith Bernstein, Louise Bourgeois, Ellen Cantor, Patricia Cronin, Mary Beth Edelson, Nicole Eisenman, Nancy Fried, Nan Goldin, Nancy Grossman, Pnina Jalon, G. B. Jones, Doris Kloster, Joyce Kozloff, Zoe Leonard, Monica Majoli, Marilyn Minter, Alice Neel, Lorraine O'Grady, Yoko Ono, Carolee Schneemann, Joan Semmel, Cindy Sherman, Nancy Spero, and Hannah WilkeVIDEO/FILM: Peggy Ahwesh, Maria Beatty, Lynda Benglis, Abigail Child, Cicciolina, Kate Dymond, Azian Nurudin, Barbara Hammer, Holly Hughes, Julia Kunin, Blush Productions, Annie Sprinkle, and Ona ZeePERFORMANCES: FlucT, luciana achugar, Kia Labeija, Xandra Ibarra/La Chica Boom, Zackary Drucker and Orlando Tirado, Jim Fletcher, Narcissister, niv Acosta, and Jen Rosenblit and their collaborators.

Hardback. Condición: New. High Tails is an eclectic volume of photography celebrating horses and commemorating Capricious' tenth anniversary in publishing and supporting emerging and underrepresented artists . High Tails is a 250+ page book of photography-including iconic images of horses throughout the 20th century alongside work from contemporary and emerging photographers. Featuring the work of over 80 artists including Dorothea Lange, Robert Mapplethorpe, Nan Goldin, Helmut Newton, Richard Prince, Viviane Sassen, Petra Collins, Collier Schorr and Ryan McGinley.

Paperback. Condición: New. "a slight cast down at the edges of the lips brings together work from the last decade of Katherine Hubbard's prolific practice, which intertwines analogue photography, writing, and live performance. Reproductions of exhibited prints, a selection of new photographs, and images created from within her performances are gathered here, along with four of the artist's original written works. This publication marks the first occasion for Hubbard's photographs and writings-for-performance to exist on the same scale, that of the book. "- co-editor, Corrine FitzpatrickThe book is accompanied by a poster with a full-scale detail reproduction of Katherine Hubbard's rip stop weave artwork, printed on glossy tissue paper. Additional contributions by Zoe Leonard, Mónica de la Torre, Elisabeth Sherman, and Lynne Tillman. Edited by Corrine Fitzpatrick and Lara Mimosa Montes.

Paperback. Condición: New. Tuesday or September or The End by Hannah Black is an incisive and playful work of speculative fiction that explores the rupture year of 2020, when aliens finally invaded. Hannah Black is an artist and writer from the UK. She lives in New York. She has written for a number of publications including The New Inquiry, Artforum, and Bookforum. Her previous books include Dark Pool Party (2016) and Life (2017, with Juliana Huxtable). She is represented by the galleries Arcadia Missa in London and Isabella Bortolozzi in Berlin. Praise for Tuesday or September or the End: Tuesday or September or the End puts calendar time back into messianic time, and also the reverse. An account of the last two disorienting years in history, in our lives, this intimate and funny and abstract fiction uses fable, and unreality, to flood a reader with the real, to remind her what is at stake. - Rachel KushnerAllegory and satire, alert and conscious, Hannah Black's Tuesday or September or the End, is an existential novel. Narrative innocence is not the engine of this work; knowledge of life in the modern is. Bird and Dog, Black's wide awake and dreaming characters, are electric and wise. This novel is fluent in our dystopia and utopia. - Dionne BrandAn acid calendar of planetary rot and revolt, Hannah Black's new novel listens for that alien language of the future: total social transformation. Staging debates on communism and social democracy, or unraveling the double helix of race and capitalism, Black's calendar is one that breathes and breaks, figuring the temporal hiccups of revolution. Suddenly it's no longer endless winter and our narrator Bird, much like chirping in early spring, brings us to witness the reanimation of the world. - Greg NissanIn Tuesday or September or the End, we see ourselves battered by time, which isn't real, and chance, which is. But just as "the world resists its reduction to winter," Hannah Black's writing, in its passionate grasp of possibility, resists spiritual suicide. The book is deeply felt because the pain of attachment is close to its center and funny because life is currently absurd. But what I love most about it, reading its compact brilliant sentences in this sunless covid afternoon, is the way it makes an argument for clarity, which really can-partially, briefly, and when it matters most-sometimes be achieved. - Benjamin Krusling.

Hardback. Condición: New.

Hardback. Condición: New.

Paperback. Condición: New. Tuesday or September or The End by Hannah Black is an incisive and playful work of speculative fiction that explores the rupture year of 2020, when aliens finally invaded. Hannah Black is an artist and writer from the UK. She lives in New York. She has written for a number of publications including The New Inquiry, Artforum, and Bookforum. Her previous books include Dark Pool Party (2016) and Life (2017, with Juliana Huxtable). She is represented by the galleries Arcadia Missa in London and Isabella Bortolozzi in Berlin. Praise for Tuesday or September or the End: Tuesday or September or the End puts calendar time back into messianic time, and also the reverse. An account of the last two disorienting years in history, in our lives, this intimate and funny and abstract fiction uses fable, and unreality, to flood a reader with the real, to remind her what is at stake. - Rachel KushnerAllegory and satire, alert and conscious, Hannah Black's Tuesday or September or the End, is an existential novel. Narrative innocence is not the engine of this work; knowledge of life in the modern is. Bird and Dog, Black's wide awake and dreaming characters, are electric and wise. This novel is fluent in our dystopia and utopia. - Dionne BrandAn acid calendar of planetary rot and revolt, Hannah Black's new novel listens for that alien language of the future: total social transformation. Staging debates on communism and social democracy, or unraveling the double helix of race and capitalism, Black's calendar is one that breathes and breaks, figuring the temporal hiccups of revolution. Suddenly it's no longer endless winter and our narrator Bird, much like chirping in early spring, brings us to witness the reanimation of the world. - Greg NissanIn Tuesday or September or the End, we see ourselves battered by time, which isn't real, and chance, which is. But just as "the world resists its reduction to winter," Hannah Black's writing, in its passionate grasp of possibility, resists spiritual suicide. The book is deeply felt because the pain of attachment is close to its center and funny because life is currently absurd. But what I love most about it, reading its compact brilliant sentences in this sunless covid afternoon, is the way it makes an argument for clarity, which really can-partially, briefly, and when it matters most-sometimes be achieved. - Benjamin Krusling.

Paperback. Condición: New. A dual catalogue and archival exposé that explores the pivotal exhibition, Coming to Power: 25 Years of Sexually X-Plicit Art By Women, originally curated by the late artist, Ellen Cantor, in 1993, along with its re-staging in 2016 by curator Pati Hertling and artist, Julie Tolentino. The book also chronicles the unprecedented partnership amongst five New York City institutions. Exhibitions and programming of Cantor's work were offered by 80WSWE, Maccarone, Foxy Productions, Participant Inc. , Electronic Arts Intermix (EAI), Skowhegan School of Painting, and MOMA-highlighting the lush, visionary, and audacious aspects of Cantor's drawings, paintings, curatorial projects, sculpture, assemblage, video, film, and evocative writing. Another section features a reprint of an interview between Cantor and Cerith Wyn Evans, a conversation between Lia Gangitano/Jonathan Berger and Julie Tolentino/Pati Hertling, as well as archival material from Cantor's diary entries and never-seen sketches from Cantor's personal papers. LIST OF ARTISTS: PAINTING/SCULPTURE/PHOTOGRAPHS: Lynda Benglis, Judith Bernstein, Louise Bourgeois, Ellen Cantor, Patricia Cronin, Mary Beth Edelson, Nicole Eisenman, Nancy Fried, Nan Goldin, Nancy Grossman, Pnina Jalon, G. B. Jones, Doris Kloster, Joyce Kozloff, Zoe Leonard, Monica Majoli, Marilyn Minter, Alice Neel, Lorraine O'Grady, Yoko Ono, Carolee Schneemann, Joan Semmel, Cindy Sherman, Nancy Spero, and Hannah WilkeVIDEO/FILM: Peggy Ahwesh, Maria Beatty, Lynda Benglis, Abigail Child, Cicciolina, Kate Dymond, Azian Nurudin, Barbara Hammer, Holly Hughes, Julia Kunin, Blush Productions, Annie Sprinkle, and Ona ZeePERFORMANCES: FlucT, luciana achugar, Kia Labeija, Xandra Ibarra/La Chica Boom, Zackary Drucker and Orlando Tirado, Jim Fletcher, Narcissister, niv Acosta, and Jen Rosenblit and their collaborators.

Hardback. Condición: New. High Tails is an eclectic volume of photography celebrating horses and commemorating Capricious' tenth anniversary in publishing and supporting emerging and underrepresented artists . High Tails is a 250+ page book of photography-including iconic images of horses throughout the 20th century alongside work from contemporary and emerging photographers. Featuring the work of over 80 artists including Dorothea Lange, Robert Mapplethorpe, Nan Goldin, Helmut Newton, Richard Prince, Viviane Sassen, Petra Collins, Collier Schorr and Ryan McGinley.

Paperback. Condición: New. "a slight cast down at the edges of the lips brings together work from the last decade of Katherine Hubbard's prolific practice, which intertwines analogue photography, writing, and live performance. Reproductions of exhibited prints, a selection of new photographs, and images created from within her performances are gathered here, along with four of the artist's original written works. This publication marks the first occasion for Hubbard's photographs and writings-for-performance to exist on the same scale, that of the book. "- co-editor, Corrine FitzpatrickThe book is accompanied by a poster with a full-scale detail reproduction of Katherine Hubbard's rip stop weave artwork, printed on glossy tissue paper. Additional contributions by Zoe Leonard, Mónica de la Torre, Elisabeth Sherman, and Lynne Tillman. Edited by Corrine Fitzpatrick and Lara Mimosa Montes.

Hardback. Condición: New.

Hardback. Condición: New.