When Charles Harrison died in 2009, the British art world lost a pivotal figure. From curating the groundbreaking 1969 exhibit, “When Attitudes Become Form” at London’s Institute of Contemporary Art; to co-writing the hyper-influential, three-volume work Art in Theory; to teaching art history to thousands in much-admired “plain English”: Harrison’s influence on the British art scene cannot be overestimated. This collection of autobiographical interviews – a fitting tribute to Harrison – opens a window into the thinking of the tireless critic and riveting professor who railed against second-rate art with his trademark motto, “Better fewer, but better.” Harrison re-caps decades of experience, retrospectively looking at trends, art historical events, institutions and artists, synthesizing it all with the brilliance he was known for. The volume also includes Harrison’s own visual documentation of the art world: a selection of his own images of exhibitions he visited, art works he championed and artists’ and critics’ studios and homes. Former students recall these impeccable photos as one of the delights of his lectures. “Harrison had the gift of making people see things they had not seen before, and even more, to think about what it was they were seeing, and to reflect on the consequences,” wrote The Times of London. Looking Back offers an unprecedented opportunity to experience one of the art world giants of our time. Interviews with Jo Melvin, Teresa Gleadow, Pablo Lafuente, Juliette Rizzi, Sophie Richard, Elena Crippa, Christopher Huer and Matthew Jesse Jackson.
February 2011 / Softcover / 6 x 8.25 inches / 256 pp / 60 b&w
ISBN: 978-1-905464-29-6 · Retail Price: $39.95
Mo-Leeza Roberts’s novel Head is like an existential Dickens or satirical version of the film Salo, written, directed and starred in by Barbara Gladstone. Roberts, both critical and complicit, describes a desperate future that clusters around the Head Gallery like cockroaches around a pig’s head. She remakes the art world into a sci-fi tale populated by curatorial artspeak, artists, collectors, hanger-ons and other artworld actors who explode in ecstasy, pain or self-induced eradication—all according to the whims of Head Gallery, an anonymous and inviolate force, overseer of events and selfless accumulator of prestige and wealth. Familiar contemporary artists are reanimated in this imaginative and darkly humorous future, giving the events described an unsettling familiarity. The Head Gallery is based in New York and Shanghai and operates between 2078 and the present.
February 2016 / Softcover
4 ½ x 7 ½ inches / 160 pp / 2 b&w
ISBN: 978-1-906012-67-0 · Retail Price: $25.00
Triple Canopy (Ed.)
Headless is a mystery novel written by the fictional author K.D. When workaday author John Barlow is asked to ghostwrite a novel about secretive tax havens, he assumes the job will be straightforward. Then he learns that his employers, Swedish conceptual artist duo Goldin+Senneby, want him to investigate Headless Ltd., a shadowy company with possible links to French philosopher Georges Bataille, famed for his fixation with human sacrifice. Barlow travels to Nassau, the mecca of offshore finance, to uncover the plot. He is not alone. A beautiful, mysterious woman is also seeking the truth about Headless and Barlow. One day the ghostwriter is happily posting to his travel blog; the next he is implicated in the decapitation of a police officer, consumed by the dark world of covert capitalism and secret societies. Barlow’s probing becomes desperate. The more he grasps at the threads of the labyrinthine plot, the closer he comes to madness. Introduction by Alexander Provan.
TRIPLE CANOPY, NEW YORK
Release Date: May 2015
Softcover / 6 1/4 x 10 1/2 inches / 348 pp
ISBN: 978-3-95679-026-3 · Retail Price: $25.00
The Uncertainty Principle
Within the realm of science, the uncertainty principle speaks of the fundamental limits of knowledge and measurement vis-à-vis the external world. Critic Martin Herbert’s compact collection of essays examine layers of unknowing and open-endedness within a diversity of contemporary art practices since the 1970s. If a work of art is always completed by the viewer, as Marcel Duchamp put it, then the works considered here equate completion with construction. In navigating us through a succession of artists’ approaches, Herbert, an associate editor for ArtReview and frequent contributor to Artforum and Frieze, discloses how constructed experiences of “not knowing” can lead to deep engagements to themes from history to politics, epistemology to our own mortality.
July 2014 / Softcover
5 x 8 1/4 inches / 184 pp / 39 b&w
ISBN: 978-3-95679-001-0 · Retail Price: $26.00
Tell Them I Said No
Martin Herbert’s timely new collection of essays considers various artists who have withdrawn from the art world or adopted an antagonistic position toward its mechanisms. Today, a large part of the artist’s role in our massively professionalized art world is being present. Herbert provides a counterargument for this proactive concept of self-marketing, examining the consequential nature of retreat, whether in protest, as a deliberate conceptual act or out of necessity. By illuminating the motives of artists including Stanley Brouwn, Charlotte Posenenske, David Hammons, Lutz Bacher and Agnes Martin among others, this book offers a unique perspective on where and how the needs of the artist and the needs of the art world diverge. Martin Herbert is a writer and critic living in Berlin. He is associate editor of ArtReview and writes for international art journals. Previous books include The Uncertainty Principle (2014) by Sternberg Press and Mark Wallinger (2011).
October 2016 / Softcover
7 ¾ x 10 in. / 120pp / 25 b&w
ISBN: 978-3-95679-200-7 · Retail Price: $24.00
Essays on Taste
Arguably one of America’s most unconventional art/cultural critics working today, Dave Hickey has, once again, assembled a collection of searing essays that challenge the critics cultural status quo. Hickey recently announced his retirement from the field of criticism due to the new extreme popularity, oversimplification and commoditization of art: “I miss being an elitist and not having to talk to idiots.” Author of popular books such as Air Guitar: Essays on Art & Democracy and The Invisible Dragon: Four Essays on Beauty, Hickey focuses this new collection of writings on cultural phenomena such as the super collector, the trope of the biennale, the loss of looking and much, much more.
Softcover / 6 x 9 inches / 192 pp
ISBN: 978-1-905464-72-2 · Retail Price: $25.00
2009 / English & Dutch / Softcover
4 3/4 x 7 1/2 inches / 148 pp / 11 b&w
ISBN: 978-90-5973-088-5 · Retail Price: $35.00
Bloody Sunday 1972
1998 / Softcover / 8 x 10 inches / 200 pp / 680 color
ISBN: 1-889195-18-9 · Retail Price: $25.00
2006 / Softcover / 5 1/2 x 5 1/2 inches
140 pp / 1 color
ISBN: 1-933128-12-7 · Retail Price: $29.95
The Marrakech Biennale in Context 
Carson Chan & Nadim Samman (Eds.)
The first major trilingual (English, Arabic and French) festival in North Africa to focus on cutting-edge contemporary art, literature and film, the Marrakech Biennale seeks to build cultural bridges through discussions with and among artists in a wide range of disciplines. This copiously illustrated collection of texts accompanying “Higher Atlas,” the visual arts exhibition at the 2012 Biennale, brings together the latest thinking on the history and contemporary reality of exhibition-making in North Africa and in particular, Morocco. Published in English and French, with an online edition in Arabic to follow, the catalog offers a window into North Africa’s vibrant but still little-known contemporary arts community. Texts by Atlas curators, Carson Chan and Nadim Samman, along with twelve additional contributors.
August 2012 / English & French / Exhibition catalog
Softcover / 6 3/4 x 9 inches / 352 pp
ISBN: 978-3-943365-03-0 · Retail Price: $27.00