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As early as the end of the 19th century, anarchists such as Peter Kropotkin and Élisée Reclus became interested in indigenous peoples, many of whom they saw as societies without a state or private property, living a form of communism. Thinkers such as David Graeber and John Holloway have continued this tradition of engagement with the practices of indigenous societies and(...)
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As early as the end of the 19th century, anarchists such as Peter Kropotkin and Élisée Reclus became interested in indigenous peoples, many of whom they saw as societies without a state or private property, living a form of communism. Thinkers such as David Graeber and John Holloway have continued this tradition of engagement with the practices of indigenous societies and(...)
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Anarcho-Indigenism: Conversations on land and freedom
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As early as the end of the 19th century, anarchists such as Peter Kropotkin and Élisée Reclus became interested in indigenous peoples, many of whom they saw as societies without a state or private property, living a form of communism. Thinkers such as David Graeber and John Holloway have continued this tradition of engagement with the practices of indigenous societies and their politics. There has also been a long history of (often imperfect) collaboration between anarchists and indigenous activists, over land rights and environmental issues, including recent high-profile anti-pipeline campaigns. ''Anarcho-Indigenism'' is a dialogue between anarchism and indigenous politics, featuring interviews from indigenous contributors Véronique Hébert, Gord Hill, Freda Huson, J. Kehaulani Kauanui, Clifton Ariwakehte Nicholas and Toghestiy, as well as the Marxist scholar specialist in indigenous people’s history and politics, Roxanne Dunbar-Ortiz. The contributors reveal what indigenous thought and traditions and anarchism have in common, without denying the scars left by colonialism even within this anti-authoritarian movement. They ultimately offer a vision of the world that combines anti-colonialism, feminism, ecology, anti-capitalism and anti-statism.
Anarcho-Indigenism: Conversations on land and freedom
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As early as the end of the 19th century, anarchists such as Peter Kropotkin and Élisée Reclus became interested in indigenous peoples, many of whom they saw as societies without a state or private property, living a form of communism. Thinkers such as David Graeber and John Holloway have continued this tradition of engagement with the practices of indigenous societies and their politics. There has also been a long history of (often imperfect) collaboration between anarchists and indigenous activists, over land rights and environmental issues, including recent high-profile anti-pipeline campaigns. ''Anarcho-Indigenism'' is a dialogue between anarchism and indigenous politics, featuring interviews from indigenous contributors Véronique Hébert, Gord Hill, Freda Huson, J. Kehaulani Kauanui, Clifton Ariwakehte Nicholas and Toghestiy, as well as the Marxist scholar specialist in indigenous people’s history and politics, Roxanne Dunbar-Ortiz. The contributors reveal what indigenous thought and traditions and anarchism have in common, without denying the scars left by colonialism even within this anti-authoritarian movement. They ultimately offer a vision of the world that combines anti-colonialism, feminism, ecology, anti-capitalism and anti-statism.
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books
books
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September 2023
September 2023
Subject:
indigenous
indigenous
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books
books
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In 1664, England decided to invade the Dutch-controlled city of New Amsterdam on Manhattan Island. Charles II and his brother, the Duke of York, had dreams of empire, and their archrivals, the Dutch, were in the way. But Richard Nicolls, the military officer who led the English flotilla bent on destruction, changed his strategy once he encountered Peter Stuyvesant, New(...)
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In 1664, England decided to invade the Dutch-controlled city of New Amsterdam on Manhattan Island. Charles II and his brother, the Duke of York, had dreams of empire, and their archrivals, the Dutch, were in the way. But Richard Nicolls, the military officer who led the English flotilla bent on destruction, changed his strategy once he encountered Peter Stuyvesant, New(...)
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Taking Manhattan: The extraordinary events that created New York and shaped America
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In 1664, England decided to invade the Dutch-controlled city of New Amsterdam on Manhattan Island. Charles II and his brother, the Duke of York, had dreams of empire, and their archrivals, the Dutch, were in the way. But Richard Nicolls, the military officer who led the English flotilla bent on destruction, changed his strategy once he encountered Peter Stuyvesant, New Netherland’s canny director general. Bristling with vibrant characters, "Taking Manhattan" reveals the founding of New York to be an invention, the result of creative negotiations that would blend the multiethnic, capitalistic society of New Amsterdam with the power of the rising English empire. But the birth of what might be termed the first modern city is also a story of the brutal dispossession of Native Americans and of the roots of American slavery. The book draws from newly translated materials and illuminates neglected histories—of religious refugees, Indigenous tribes, and free and enslaved Africans. "Taking Manhattan" tells the riveting story of the birth of New York City as a center of capitalism and pluralism, a foundation from which America would rise.
Taking Manhattan: The extraordinary events that created New York and shaped America
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In 1664, England decided to invade the Dutch-controlled city of New Amsterdam on Manhattan Island. Charles II and his brother, the Duke of York, had dreams of empire, and their archrivals, the Dutch, were in the way. But Richard Nicolls, the military officer who led the English flotilla bent on destruction, changed his strategy once he encountered Peter Stuyvesant, New Netherland’s canny director general. Bristling with vibrant characters, "Taking Manhattan" reveals the founding of New York to be an invention, the result of creative negotiations that would blend the multiethnic, capitalistic society of New Amsterdam with the power of the rising English empire. But the birth of what might be termed the first modern city is also a story of the brutal dispossession of Native Americans and of the roots of American slavery. The book draws from newly translated materials and illuminates neglected histories—of religious refugees, Indigenous tribes, and free and enslaved Africans. "Taking Manhattan" tells the riveting story of the birth of New York City as a center of capitalism and pluralism, a foundation from which America would rise.
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books
books
Publication:
March 2025
March 2025
Subject:
History until 1900, North America
History until 1900, North America
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books
books
Title:
The care economy
The care economy
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Care is the foundation of organic life. But its fate in the economy is precarious and uncertain. The labour of care is arduous and underpaid. Yet without it health and vitality are impossible. Care itself ends up leading a curious dual life. In our hearts it’s honoured as an irreducible good. But in the market it’s treated as a second class citizen – barely recognised in(...)
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Care is the foundation of organic life. But its fate in the economy is precarious and uncertain. The labour of care is arduous and underpaid. Yet without it health and vitality are impossible. Care itself ends up leading a curious dual life. In our hearts it’s honoured as an irreducible good. But in the market it’s treated as a second class citizen – barely recognised in(...)
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The care economy
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Care is the foundation of organic life. But its fate in the economy is precarious and uncertain. The labour of care is arduous and underpaid. Yet without it health and vitality are impossible. Care itself ends up leading a curious dual life. In our hearts it’s honoured as an irreducible good. But in the market it’s treated as a second class citizen – barely recognised in the relentless rush for productivity and wealth. How did we arrive in this dysfunctional place? And what can we do to change things? What would it mean to take health seriously as a societal goal? What would it take to adopt care as an organising principle in the economy? Tim Jackson sets out to tackle these questions in this timely and deeply personal book. His journey travels through the history of medicine, the economics of capitalism and the philosophical underpinnings of health. He unpacks the gender politics of care, revisits the birthplace of a universal dream and confronts the demons that prevent us from realising it.
The care economy
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Care is the foundation of organic life. But its fate in the economy is precarious and uncertain. The labour of care is arduous and underpaid. Yet without it health and vitality are impossible. Care itself ends up leading a curious dual life. In our hearts it’s honoured as an irreducible good. But in the market it’s treated as a second class citizen – barely recognised in the relentless rush for productivity and wealth. How did we arrive in this dysfunctional place? And what can we do to change things? What would it mean to take health seriously as a societal goal? What would it take to adopt care as an organising principle in the economy? Tim Jackson sets out to tackle these questions in this timely and deeply personal book. His journey travels through the history of medicine, the economics of capitalism and the philosophical underpinnings of health. He unpacks the gender politics of care, revisits the birthplace of a universal dream and confronts the demons that prevent us from realising it.
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books
books
Publication:
May 2025
May 2025
Subject:
Social
Social
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books
books
Title:
Koh-i-noor
Koh-i-noor
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It’s 2011 on Nova Scotia’s South Shore, and Sean Lohan is at a crossroads. The son of Colorado Buddhists, Sean wonders if he should accept his parents’ offer to join their natural cosmetics company or venture out on his own. When an art history professor opens Sean’s eyes to the contradictions of capitalism, he realizes he can’t avoid or transcend his own personal(...)
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It’s 2011 on Nova Scotia’s South Shore, and Sean Lohan is at a crossroads. The son of Colorado Buddhists, Sean wonders if he should accept his parents’ offer to join their natural cosmetics company or venture out on his own. When an art history professor opens Sean’s eyes to the contradictions of capitalism, he realizes he can’t avoid or transcend his own personal(...)
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Koh-i-noor
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It’s 2011 on Nova Scotia’s South Shore, and Sean Lohan is at a crossroads. The son of Colorado Buddhists, Sean wonders if he should accept his parents’ offer to join their natural cosmetics company or venture out on his own. When an art history professor opens Sean’s eyes to the contradictions of capitalism, he realizes he can’t avoid or transcend his own personal dilemmas and instead chooses to face them head-on. Sean’s ultimate decision to found a social enterprise leads him to China. At the same time, his close friend Jerry becomes entangled in a Google-like tech enterprise in California, and his girlfriend Samantha pursues her own high-minded interventions in Cuba—each path leading to increasingly risky and complex outcomes. In the roving literary style of Thomas Pynchon and Mathias Énard, this enthralling debut offers readers a fast-paced adventure through the diverging nuances of economics, spirituality, and extraction. In a period of increasing uncertainty, Koh-i-Noor is a timely doomscroll through four decades of globalization, generational change, and the search for one’s own values.
Koh-i-noor
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It’s 2011 on Nova Scotia’s South Shore, and Sean Lohan is at a crossroads. The son of Colorado Buddhists, Sean wonders if he should accept his parents’ offer to join their natural cosmetics company or venture out on his own. When an art history professor opens Sean’s eyes to the contradictions of capitalism, he realizes he can’t avoid or transcend his own personal dilemmas and instead chooses to face them head-on. Sean’s ultimate decision to found a social enterprise leads him to China. At the same time, his close friend Jerry becomes entangled in a Google-like tech enterprise in California, and his girlfriend Samantha pursues her own high-minded interventions in Cuba—each path leading to increasingly risky and complex outcomes. In the roving literary style of Thomas Pynchon and Mathias Énard, this enthralling debut offers readers a fast-paced adventure through the diverging nuances of economics, spirituality, and extraction. In a period of increasing uncertainty, Koh-i-Noor is a timely doomscroll through four decades of globalization, generational change, and the search for one’s own values.
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books
books
Publication:
May 2026
May 2026
Subject:
Literature and poetry
Literature and poetry
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books
books
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In ''Beyond the World's End,'' T. J. Demos explores cultural practices that provide radical propositions for living in a world beset by environmental and political crises. Rethinking relationships between aesthetics and an expanded political ecology that foregrounds just futurity, Demos examines how contemporary artists are diversely addressing urgent themes, including(...)
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In ''Beyond the World's End,'' T. J. Demos explores cultural practices that provide radical propositions for living in a world beset by environmental and political crises. Rethinking relationships between aesthetics and an expanded political ecology that foregrounds just futurity, Demos examines how contemporary artists are diversely addressing urgent themes, including(...)
Title:
Beyond the world's end: arts of living at the crossing
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In ''Beyond the World's End,'' T. J. Demos explores cultural practices that provide radical propositions for living in a world beset by environmental and political crises. Rethinking relationships between aesthetics and an expanded political ecology that foregrounds just futurity, Demos examines how contemporary artists are diversely addressing urgent themes, including John Akomfrah's cinematic entanglements of racial capitalism with current environmental threats, the visual politics of climate refugees in work by Forensic Architecture and Teddy Cruz and Fonna Forman, and moving images of Afrofuturist climate justice in projects by Arthur Jafa and Martine Syms. Demos considers video and mixed-media art that responds to resource extraction in works by Angela Melitopoulos, Allora & Calzadilla, and Ursula Biemann, as well as the multispecies ecologies of Terike Haapoja and Public Studio. Throughout Demos contends that contemporary intersections of aesthetics and politics, as exemplified in the Standing Rock #NoDAPL campaign and the Zad's autonomous zone in France, are creating the imaginaries that will be crucial to building a socially just and flourishing future.
Beyond the world's end: arts of living at the crossing
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In ''Beyond the World's End,'' T. J. Demos explores cultural practices that provide radical propositions for living in a world beset by environmental and political crises. Rethinking relationships between aesthetics and an expanded political ecology that foregrounds just futurity, Demos examines how contemporary artists are diversely addressing urgent themes, including John Akomfrah's cinematic entanglements of racial capitalism with current environmental threats, the visual politics of climate refugees in work by Forensic Architecture and Teddy Cruz and Fonna Forman, and moving images of Afrofuturist climate justice in projects by Arthur Jafa and Martine Syms. Demos considers video and mixed-media art that responds to resource extraction in works by Angela Melitopoulos, Allora & Calzadilla, and Ursula Biemann, as well as the multispecies ecologies of Terike Haapoja and Public Studio. Throughout Demos contends that contemporary intersections of aesthetics and politics, as exemplified in the Standing Rock #NoDAPL campaign and the Zad's autonomous zone in France, are creating the imaginaries that will be crucial to building a socially just and flourishing future.
Form:
books
books
Publication:
September 2020
September 2020
Subject:
Environment and environmental theory
Environment and environmental theory
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books
books
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Theorists, historians, and artists address the precarious futurity of the notion of the future. Not long ago, a melancholic left and a manic neoliberalism seemed to arrive at an awkward consensus: the foreclosure of futurity. Whereas the former mourned the failure of its utopian project, the latter celebrated the triumph of a global marketplace. The radical hope of(...)
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Theorists, historians, and artists address the precarious futurity of the notion of the future. Not long ago, a melancholic left and a manic neoliberalism seemed to arrive at an awkward consensus: the foreclosure of futurity. Whereas the former mourned the failure of its utopian project, the latter celebrated the triumph of a global marketplace. The radical hope of(...)
Title:
Futurity report, counter histories vol.1
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Theorists, historians, and artists address the precarious futurity of the notion of the future. Not long ago, a melancholic left and a manic neoliberalism seemed to arrive at an awkward consensus: the foreclosure of futurity. Whereas the former mourned the failure of its utopian project, the latter celebrated the triumph of a global marketplace. The radical hope of realizing a singularly different, more equitable future displaced by a belief that the future had already come to pass, limiting post-historical society to an uneventful life of endless accumulation. Today, amidst an abundance of neofuturisms, posthumanisms, futurologies, speculative philosophies and accelerationist scenarios, there is as well an expanding awareness of a looming planetary catastrophe driven by the extractionist logic of capitalism. Despite this return to the future, the temporal horizon of our present moment is perhaps more aptly characterized by the 'shrinking future' of just-in-time production, risk management, high-frequency trading, and the futures market. In "Futurity report," theorists, historians, and artists address the precarious futurity of the notion of the future itself.
Futurity report, counter histories vol.1
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$39.95
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Summary:
Theorists, historians, and artists address the precarious futurity of the notion of the future. Not long ago, a melancholic left and a manic neoliberalism seemed to arrive at an awkward consensus: the foreclosure of futurity. Whereas the former mourned the failure of its utopian project, the latter celebrated the triumph of a global marketplace. The radical hope of realizing a singularly different, more equitable future displaced by a belief that the future had already come to pass, limiting post-historical society to an uneventful life of endless accumulation. Today, amidst an abundance of neofuturisms, posthumanisms, futurologies, speculative philosophies and accelerationist scenarios, there is as well an expanding awareness of a looming planetary catastrophe driven by the extractionist logic of capitalism. Despite this return to the future, the temporal horizon of our present moment is perhaps more aptly characterized by the 'shrinking future' of just-in-time production, risk management, high-frequency trading, and the futures market. In "Futurity report," theorists, historians, and artists address the precarious futurity of the notion of the future itself.
Form:
books
books
Publication:
October 2021
October 2021
Subject:
Critical Theory
Critical Theory
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books
books
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$24.50
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In her stirring and influential essay ''Art on the frontline,'' American scholar and activist icon Angela Y. Davis (born 1944) asked, 'how do we collectively acknowledge our popular cultural legacy and communicate it to the masses of people, most of whom have been denied access to the social spaces reserved for arts and culture?' Originally published in ''Political(...)
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In her stirring and influential essay ''Art on the frontline,'' American scholar and activist icon Angela Y. Davis (born 1944) asked, 'how do we collectively acknowledge our popular cultural legacy and communicate it to the masses of people, most of whom have been denied access to the social spaces reserved for arts and culture?' Originally published in ''Political(...)
Title:
Art on the frontline: Mandate for a people's culture. Two works series, Vol. 2
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In her stirring and influential essay ''Art on the frontline,'' American scholar and activist icon Angela Y. Davis (born 1944) asked, 'how do we collectively acknowledge our popular cultural legacy and communicate it to the masses of people, most of whom have been denied access to the social spaces reserved for arts and culture?' Originally published in ''Political Affairs,'' a radical Marxist magazine, in 1985, the essay calls into question the role of art in the pursuit of social and racial liberation, and asserts the inequities exacerbated by the art world. Looking to the cultural and artistic forms born of Afro-American struggles, Davis insists that we attempt to understand, reclaim and glean insight from this history in preparing a political offensive against the racial oppression endemic to capitalism. Working in the context of 2020’s racial uprising some 35 years later, New York–based painter Tschabalala Self (born 1990) responds to Davis’ words with new, characteristically vibrant and provocative collaged works on paper. Her three series emerge collectively as something greater than their parts, suggesting a joyfulness in their ebbs and flows.
Art on the frontline: Mandate for a people's culture. Two works series, Vol. 2
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In her stirring and influential essay ''Art on the frontline,'' American scholar and activist icon Angela Y. Davis (born 1944) asked, 'how do we collectively acknowledge our popular cultural legacy and communicate it to the masses of people, most of whom have been denied access to the social spaces reserved for arts and culture?' Originally published in ''Political Affairs,'' a radical Marxist magazine, in 1985, the essay calls into question the role of art in the pursuit of social and racial liberation, and asserts the inequities exacerbated by the art world. Looking to the cultural and artistic forms born of Afro-American struggles, Davis insists that we attempt to understand, reclaim and glean insight from this history in preparing a political offensive against the racial oppression endemic to capitalism. Working in the context of 2020’s racial uprising some 35 years later, New York–based painter Tschabalala Self (born 1990) responds to Davis’ words with new, characteristically vibrant and provocative collaged works on paper. Her three series emerge collectively as something greater than their parts, suggesting a joyfulness in their ebbs and flows.
Form:
books
books
Publication:
July 2021
July 2021
Subject:
Art Theory
Art Theory
Form:
books
books
Price:
$35.95
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Summary:
Postmodernism stood for everything modernism rejected: fun, exuberance, irresponsibility. But beneath its glitzy surface, postmodernism had a dirty secret: it was the fig leaf for a rapacious new kind of capitalism. It was the forcing ground of ''post truth,'' by means of which western values were turned upside down. But where do these ideas come from and how have they(...)
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Postmodernism stood for everything modernism rejected: fun, exuberance, irresponsibility. But beneath its glitzy surface, postmodernism had a dirty secret: it was the fig leaf for a rapacious new kind of capitalism. It was the forcing ground of ''post truth,'' by means of which western values were turned upside down. But where do these ideas come from and how have they(...)
Title:
Everything all the time, everywhere: How we became Postmodern
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Postmodernism stood for everything modernism rejected: fun, exuberance, irresponsibility. But beneath its glitzy surface, postmodernism had a dirty secret: it was the fig leaf for a rapacious new kind of capitalism. It was the forcing ground of ''post truth,'' by means of which western values were turned upside down. But where do these ideas come from and how have they impacted on the world? In this brilliant history of a dangerous idea, Stuart Jeffries tells a narrative that starts in the early 1970s and still dominates our lives today. He tells this history through a riotous gallery that includes, among others: David Bowie, the iPod, Madonna, Jeff Koons’s the Nixon Shock, Judith Butler, Las Vegas, Margaret Thatcher, Grand Master Flash, I Love Dick, the RAND Corporation, the Sex Pistols, Princess Diana, Grand Theft Auto, Jean Baudrillard, Netflix, and 9/11. We are today scarcely capable of conceiving politics as a communal activity because we have become habituated to being consumers rather than citizens. Politicians treat us as consumers to whom they must deliver. Can we do anything other than suffer from buyer’s remorse?
Everything all the time, everywhere: How we became Postmodern
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Postmodernism stood for everything modernism rejected: fun, exuberance, irresponsibility. But beneath its glitzy surface, postmodernism had a dirty secret: it was the fig leaf for a rapacious new kind of capitalism. It was the forcing ground of ''post truth,'' by means of which western values were turned upside down. But where do these ideas come from and how have they impacted on the world? In this brilliant history of a dangerous idea, Stuart Jeffries tells a narrative that starts in the early 1970s and still dominates our lives today. He tells this history through a riotous gallery that includes, among others: David Bowie, the iPod, Madonna, Jeff Koons’s the Nixon Shock, Judith Butler, Las Vegas, Margaret Thatcher, Grand Master Flash, I Love Dick, the RAND Corporation, the Sex Pistols, Princess Diana, Grand Theft Auto, Jean Baudrillard, Netflix, and 9/11. We are today scarcely capable of conceiving politics as a communal activity because we have become habituated to being consumers rather than citizens. Politicians treat us as consumers to whom they must deliver. Can we do anything other than suffer from buyer’s remorse?
Form:
books
books
Publication:
October 2021
October 2021
Subject:
Social
Social
Form:
books
books
Title:
Don't build, rebuild
Don't build, rebuild
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$43.95
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As climate change has escalated into a crisis, the reuse of existing structures is the only way to even begin to preserve our wood, sand, silicon, and iron, let alone stop belching carbon monoxide into the air. Our housing crisis means that we need usable buildings now more than ever, but architect and critic Aaron Betsky shows that new construction—often seeking to(...)
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As climate change has escalated into a crisis, the reuse of existing structures is the only way to even begin to preserve our wood, sand, silicon, and iron, let alone stop belching carbon monoxide into the air. Our housing crisis means that we need usable buildings now more than ever, but architect and critic Aaron Betsky shows that new construction—often seeking to(...)
Title:
Don't build, rebuild
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$43.95
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As climate change has escalated into a crisis, the reuse of existing structures is the only way to even begin to preserve our wood, sand, silicon, and iron, let alone stop belching carbon monoxide into the air. Our housing crisis means that we need usable buildings now more than ever, but architect and critic Aaron Betsky shows that new construction—often seeking to maximize profits rather than resources, often soulless in its feel—is not the answer. Whenever possible, it is better to repair, recycle, renovate, and reuse—not only from an environmental perspective, but culturally and artistically as well. Architectural reuse is as old as civilization itself. In the streets of Europe, you can find fragments from the Roman Empire. More recently, marginalized communities from New York to Detroit—queer people looking for places to gather or cruise, punks looking to make loud music, artists and displaced people looking for space to work and live—have taken over industrial spaces created then abandoned by capitalism, forging a unique style in the process. Their methods—from urban mining to dumpster diving—now inform architects transforming old structures today.
Don't build, rebuild
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$43.95
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Summary:
As climate change has escalated into a crisis, the reuse of existing structures is the only way to even begin to preserve our wood, sand, silicon, and iron, let alone stop belching carbon monoxide into the air. Our housing crisis means that we need usable buildings now more than ever, but architect and critic Aaron Betsky shows that new construction—often seeking to maximize profits rather than resources, often soulless in its feel—is not the answer. Whenever possible, it is better to repair, recycle, renovate, and reuse—not only from an environmental perspective, but culturally and artistically as well. Architectural reuse is as old as civilization itself. In the streets of Europe, you can find fragments from the Roman Empire. More recently, marginalized communities from New York to Detroit—queer people looking for places to gather or cruise, punks looking to make loud music, artists and displaced people looking for space to work and live—have taken over industrial spaces created then abandoned by capitalism, forging a unique style in the process. Their methods—from urban mining to dumpster diving—now inform architects transforming old structures today.
Form:
books
books
Publication:
November 2024
November 2024
Subject:
Architectural Theory
Architectural Theory
Form:
books
books
Title:
John Lehr: The last things
John Lehr: The last things
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"The last things" explores the artifacts of an American archeological present. The work in this series depicts vernacular forms of architecture, signage, images, and objects that were hastily made in a rush for attention, or abandoned in place after their usefulness had expired. Lehr posits them as symptomatic symbols of the repetitive cycles of decline, rehabilitation,(...)
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Summary:
"The last things" explores the artifacts of an American archeological present. The work in this series depicts vernacular forms of architecture, signage, images, and objects that were hastily made in a rush for attention, or abandoned in place after their usefulness had expired. Lehr posits them as symptomatic symbols of the repetitive cycles of decline, rehabilitation,(...)
Title:
John Lehr: The last things
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"The last things" explores the artifacts of an American archeological present. The work in this series depicts vernacular forms of architecture, signage, images, and objects that were hastily made in a rush for attention, or abandoned in place after their usefulness had expired. Lehr posits them as symptomatic symbols of the repetitive cycles of decline, rehabilitation, violence, and mourning that are woven into the fabric of contemporary American life. These light-drenched photographs vividly describe a nation speaking through the language of capitalism. Words and images repeat and contradict throughout the work, reflecting emphatic pleas and shifting priorities. At other times, language breaks down completely, giving way to pictographic forms that are both primitive and utterly contemporary. Flaking paint morphs into JPEG vinyl printouts and LED displays, blurring the line between commercial speech and individual expression. Embedded in the work is a belief in the power and absurdity of objects that—like a body—bear the traces of collective experience. In its distilled and emphatic sequencing "The last things" reads as a prose poem and a cryptic cipher about a country at the brink of a tipping point.
John Lehr: The last things
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"The last things" explores the artifacts of an American archeological present. The work in this series depicts vernacular forms of architecture, signage, images, and objects that were hastily made in a rush for attention, or abandoned in place after their usefulness had expired. Lehr posits them as symptomatic symbols of the repetitive cycles of decline, rehabilitation, violence, and mourning that are woven into the fabric of contemporary American life. These light-drenched photographs vividly describe a nation speaking through the language of capitalism. Words and images repeat and contradict throughout the work, reflecting emphatic pleas and shifting priorities. At other times, language breaks down completely, giving way to pictographic forms that are both primitive and utterly contemporary. Flaking paint morphs into JPEG vinyl printouts and LED displays, blurring the line between commercial speech and individual expression. Embedded in the work is a belief in the power and absurdity of objects that—like a body—bear the traces of collective experience. In its distilled and emphatic sequencing "The last things" reads as a prose poem and a cryptic cipher about a country at the brink of a tipping point.
Form:
books
books
Publication:
November 2024
November 2024
Subject:
Photography monographs
Photography monographs
