Al Hayya issue 4
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The free people of the world are organizing, moving toward what many refer to today as the global revolution. In Gaza, the genocide pins the infinity of time, trapping it within the loneliness of each minute. This fight, and how we wage it, will determine whether we are worthy of the land’s forgiveness, and whether she will grant us passage into the future or consume us(...)
Al Hayya issue 4
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The free people of the world are organizing, moving toward what many refer to today as the global revolution. In Gaza, the genocide pins the infinity of time, trapping it within the loneliness of each minute. This fight, and how we wage it, will determine whether we are worthy of the land’s forgiveness, and whether she will grant us passage into the future or consume us all, once and forever. The fourth issue of Al Hayya focuses on Dreams of Liberation. It traces resistance as it takes shape inside the home, in the streets, across borders, and within the self. It examines how art, memory, and the rituals of everyday life carry defiance. It documents the weight and texture of struggle as both personal and collective. This issue features a rare interview with Palestinian revolutionary and PFLP member Leila Khaled. It also includes an in-depth conversation with Françoise Vergès on decolonial feminism and cultural resistance. Photo essays by Maen Hammad, Amal Al-Nakhala, Nader Bahsoun, Sarah Kontar, and Hannah La Follette Ryan document life under pressure, grief, exile, and survival.
Magazines
Safar 9: Protests
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To protest is a fundamental human act against injustice. It takes many forms: the defiant act of existing, the organized resistance of multitudes, armed struggles, and the disruption of systems through speech, action, and refusal in person, in prints and slogans online, or on the streets. Some forms of protest require symbols, flags, and specific attire, while others are(...)
Safar 9: Protests
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To protest is a fundamental human act against injustice. It takes many forms: the defiant act of existing, the organized resistance of multitudes, armed struggles, and the disruption of systems through speech, action, and refusal in person, in prints and slogans online, or on the streets. Some forms of protest require symbols, flags, and specific attire, while others are carried out through non-verbal communication, secret dissemination, and ideological discipline. Yet all of them need cultural carriers–our bodies, our stories, and our marks to hold what can be remembered and learned from. Whether explicit or invisible, in communities or in solitude, this issue explores why we protest, and how, in the hopes of sparking solace, solidarity, and action.
Magazines
Petit bois
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"Petit bois" restitue une expérience d’immersion dans la forêt boréale québécoise. En 2024, Marianne Tricot passe deux mois dans une station de recherche en écologie forestière située au cœur de la forêt où elle accompagne une équipe de scientifiques sur le terrain. Le livre présente quatre-vingt douze pastels à l’huile réalisés dans cet environnement, en hiver et en été.(...)
September 2025
Petit bois
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"Petit bois" restitue une expérience d’immersion dans la forêt boréale québécoise. En 2024, Marianne Tricot passe deux mois dans une station de recherche en écologie forestière située au cœur de la forêt où elle accompagne une équipe de scientifiques sur le terrain. Le livre présente quatre-vingt douze pastels à l’huile réalisés dans cet environnement, en hiver et en été. Sous-bois, forêts brûlées, lacs gelés ou dégelés, traces d’animaux, tapis de mousse ou chercheur.ses au travail sont représentés. À la fin de l’ouvrage, un ensemble de mots – notions scientifiques, éléments observés, études menées, sensations éprouvées – sont rassemblés sous la forme d’un lexique. Trois points de vue sur la forêt boréale s’y mêlent : celui d’un chercheur en paléoécologie, celui d’une femme gardienne de territoire membre de la Première Nation Innu, et celui de l’artiste.
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Ce numéro explore la notion d’horizon et l’expérience de sa possible absence, nourrissant l’échange entre le Liban et sa diaspora. Cette publication rassemble une constellation de pensées qui interrogent tour à tour les imaginaires de l’habiter et de l’exil, le jeu des frontières invisibles et de la distance, les pratiques de résistance dans la production d’images et les(...)
Le Merle vol. 8 n.1, automne 2025
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Ce numéro explore la notion d’horizon et l’expérience de sa possible absence, nourrissant l’échange entre le Liban et sa diaspora. Cette publication rassemble une constellation de pensées qui interrogent tour à tour les imaginaires de l’habiter et de l’exil, le jeu des frontières invisibles et de la distance, les pratiques de résistance dans la production d’images et les représentations politiques du sectarisme, de l’écologie et de l’expérience propre à l’urbanité Libanaise. La majorité des textes réunis ont été écrits avant le 7 octobre 2023, avant le génocide en cours. Il a été édité par Mirna Abiad-Boyadjian et François Lemieux qui remercient chaleureusement les contributrices et contributeurs.
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Over the course of just two months in 1965, at a residency at the Tamarind Lithography Workshop in Los Angeles, the Japanese American artist Ruth Asawa produced a stunning portfolio of 54 lithographs, depicting organic forms and plants as well as family and friends. The Tamarind Workshop had been founded by artist June Wayne in Los Angeles in 1960 in an effort to(...)
Ruth Asawa: The tamarind prints
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Over the course of just two months in 1965, at a residency at the Tamarind Lithography Workshop in Los Angeles, the Japanese American artist Ruth Asawa produced a stunning portfolio of 54 lithographs, depicting organic forms and plants as well as family and friends. The Tamarind Workshop had been founded by artist June Wayne in Los Angeles in 1960 in an effort to revitalize lithography as a fine art, and offered artists the opportunity to work in collaboration with master printers. For Asawa, it was a rare chance to focus on a single medium and opened up a new chapter of artmaking for her. A testament to Asawa's radically experimental and collaborative ethos, the Tamarind prints present a discrete chapter of her oeuvre, encapsulating many of the artist's emblematic motifs. Published in celebration of the artist's centennial in 2026, this exquisitely produced book illustrates each lithograph made during her residency at the Tamarind Workshop, which have never been published as a complete series.
Contemporary Art Monographs
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Michel Campeau est un de ces photographes qui, outre leur propre création d’images, ont toujours été passionnés par une photographie dite « vernaculaire », anonyme ou de famille. Il fait partie de cette génération de photographes qui pourrait réunir Martin Parr, Erik Kessel, Joachim Schmidt et d’autres, qui ont créé par leur attention sur ces images délaissées avant eux,(...)
Gestes et rituels de la chambre noire
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Michel Campeau est un de ces photographes qui, outre leur propre création d’images, ont toujours été passionnés par une photographie dite « vernaculaire », anonyme ou de famille. Il fait partie de cette génération de photographes qui pourrait réunir Martin Parr, Erik Kessel, Joachim Schmidt et d’autres, qui ont créé par leur attention sur ces images délaissées avant eux, un genre à part entière… Depuis de nombreuses années, Michel Campeau traque dans l’immensité d’une production d’images mondialisée, les tirages photographiques amateurs ou de professionnels qui vont nourrir les différentes collections qu’il a établies. Ainsi les chambres noires, que l’on pourrait considérer comme une sorte de caverne originelle de la photographie, ont toujours été, pour lui, l’un des plus importants objets de collection, certainement parce qu’elles contribuent à lui renvoyer sa propre image, l’autoportrait d’un créateur dont le regard a été forgé par cette photographie argentique qui apparaissait dans la nuit de la chambre, pleine de magie et de matière, que le passage à la photographie numérique a chassé.
Photography monographs
E-flux index #7
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As we myopically gaze at the handsets inches from our face, we are often encouraged by sensible apostles of "objectivity" to try and get some perspective; to zoom out, zoom up, and achieve something like a lofty bird’s-eye view on our situation. e-flux Index #7 floats upward to give an aerial view over the terrain of everything e-flux published between December 2024 and(...)
E-flux index #7
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As we myopically gaze at the handsets inches from our face, we are often encouraged by sensible apostles of "objectivity" to try and get some perspective; to zoom out, zoom up, and achieve something like a lofty bird’s-eye view on our situation. e-flux Index #7 floats upward to give an aerial view over the terrain of everything e-flux published between December 2024 and February 2025. This peek through the porthole across three months worth of daily publishing gathers together long-form essays on contemporary culture and architecture, exhibition, book, and film reviews, profiles of artists, critical interjections, fresh translations from the historic avant-garde, and analytical dispatches from live political and social conjunctures. These have been recomposed into eleven thematic sections, to help us get some perspective (however vertiginous) on the present moment and emergent tendencies in critical discourse.
Magazines
731.52 cm of land
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Building loosely on the form of a pocket-sized travel guide, "731.52 cm of land" unfolds into a 731.52 cm wide miniature landscape. Composed of hand-painted and digitally illustrated images stitched together into a continuous sequence, the book includes a poem and short narrative by the artist, an essay co-authored with Daniella Sanader, and an afterword by Heather Canlas(...)
731.52 cm of land
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Building loosely on the form of a pocket-sized travel guide, "731.52 cm of land" unfolds into a 731.52 cm wide miniature landscape. Composed of hand-painted and digitally illustrated images stitched together into a continuous sequence, the book includes a poem and short narrative by the artist, an essay co-authored with Daniella Sanader, and an afterword by Heather Canlas Rigg. A sticker sheet featuring animal and plant forms is included as an insert. Functioning as a poetic visual-textual essay, the book unsettles the familiar logic of travel guides and the explorer’s gaze. It troubles the impulses of sightseeing, navigation, and tourism, while calling into question the authoritative languages of archaeology, botany, taxonomy, and cartography. It emerges from ongoing inquiries in Nour Bishouty’s practice around permission, legibility, and understanding.
Contemporary Art Monographs
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Fifty years after the Fall of Saigon and twenty years after her family’s emigration to America, Minh Nguyen returns to her native Vietnam to find out what’s left of the old revolutionary project. In Memorial Park, a collection of essays pairing travelogue and criticism, Nguyen encounters relics of proletarian romance and vestiges of authoritarian control amid an evermore(...)
Memorial Park: Revisiting Vietnam
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Fifty years after the Fall of Saigon and twenty years after her family’s emigration to America, Minh Nguyen returns to her native Vietnam to find out what’s left of the old revolutionary project. In Memorial Park, a collection of essays pairing travelogue and criticism, Nguyen encounters relics of proletarian romance and vestiges of authoritarian control amid an evermore corporatized society. Along the way, she considers how contemporary artspeak confuses state censors, the rise of luxury "Smart Cities" as they supplant socialist housing complexes, and the enduring appeal of propaganda signs that once promised utopia. Driven by a diasporic curiosity that seeks discovery over dwelling on loss, "Memorial Park" avoids nostalgic idealism or reflexive condemnation. Instead, Nguyen takes seriously the legacy of Vietnamese liberation by naming what it has become—and what it has not.
Art Theory
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"You gotta love it", says 65-year-old Bill Delaney, beauty salesman in the greater Los Angeles area. Yes, you gotta love it. You gotta love the hustle, the getting-up-and-going-out, the repeating sales pitches, the flirting and the haggling; the unending calls, all week, Monday to Sunday, all day, morning till night. You gotta love the dance, the rush, and the territory.(...)
Too Many Products Too Much Pressure
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"You gotta love it", says 65-year-old Bill Delaney, beauty salesman in the greater Los Angeles area. Yes, you gotta love it. You gotta love the hustle, the getting-up-and-going-out, the repeating sales pitches, the flirting and the haggling; the unending calls, all week, Monday to Sunday, all day, morning till night. You gotta love the dance, the rush, and the territory. In 1980, as a young photographer just beginning her MFA in San Francisco and developing a keen interest in documenting labor, Janet Delaney embarked for a week on the job with her soon-to-retire father. The days are long and exhausting, but there is, in the incessant driving, carrying and chatting, a restless, pulsing energy streaming from Delaney’s photographs. Picturing the beauty parlors with a critical distance (she did, after all, grow up in a time of questioning constricted gender roles and capitalist consumer culture), using frontal, wide shots and often harsh flash, Delaney created a witty documentation of a day in the life of a salesman.
Photography monographs