Iphgenia Baal

Mercedes Benz is a dysfunctional love affair strung out over SMS, BBM, email and Facebook. Set in a barely credible 2011 London, Iphgenia Baal’s third novel, edited by cult author Stewart Home, describes a world where Bow E3’s high-rise estates are no longer the Ends, awful art parties do little to dispel 1990s nostalgia and downward mobility proves to be a much more intoxicating drug than heroin. If the story told here isn’t a tragedy, love is dead! Iphgenia Baal, a London-based writer (and formerly a journalist) has been published in Smoke: A London Peculiar, The White Review, and The Milan Review. She has also self-published two zines: The Gentle Art of Tramping and No! No! No! No! No! No! No! In 2011, Baal was nominated for the Granta Young British Novelist award for her first book, The Hardy Tree.

April 2017 / Softcover
5 x 7 ½ in. / 120 pp
ISBN: 978-1-906012-75-5 · Retail Price: $24.95


Selected Writings on Art

Michael Bracewell

Critic, novelist and cultural voyeur Michael Bracewell is not a writer who’s easy to classify. Born in 1958, a veteran of the British punk scene, he is a shockingly wide-ranging intellect whose influences range from Aubrey Beardsley to Enrico David. One of the most influential commentators on modern and contemporary art, he has been a regular contributor to Frieze since its inception.

In an engaging collection from the outstanding British art publisher Ridinghouse, Bracewell explores connections between the visual arts, pop music, modern iconography and various sub-cultures. These finely crafted essays appraise the vision and ideas of individual artists and the relation of their work to its broader cultural context. Bracewell has written extensively on artists including Gilbert & George, Richard Hamilton, Bridget Riley, Wolfgang Tillmans, Anish Kapoor, Keith Coventry, John Stezaker, Glenn Brown and Damien Hirst.

Reading Bracewell is sheer pleasure. His British colleagues describe his work as “lyrical” and “inspired.” One critic calls him “the poet laureate of late capitalism,” while another says his prose “shimmers with metaphysical warmth.” Even allowing for critical exaggeration, there’s no question this is a writer of huge talent, with a lot to say.

Ridinghouse, London
June 2012 / Softcover / 6 x 9 inches / 464 pp / 26 color
ISBN: 978-1-905464-38-8 · Retail Price: $35.00


Brutalist Readings
Essays on Literature

Niamh Dunphy (Ed.)

Not since the surrealists and high moderns have artists engaged writing as an art form, until now. Noted contemporary writer, poet and professor John Douglas Millar’s timely and significant examination of contemporary artist-produced literature proposes a framework for understanding current conceptual writing. Divided into two parts, Millar first focuses on conceptual writing as a critique of literary institutions, disembodied labor and high-capitalist digital production; and second, on the work of contemporary artists experimenting with writing. Engaging current debate on the place of artist-produced writings in the context of contemporary art, Millar covers a variety of subjects including conceptualism and romanticism, allegory, appropriation, dialectical images, conceptual writing and the digital in the work of Paul B. Preciado, Chris Kraus and Pierre Guyotat, among others. Charting the highs and lows of the conceptual turn in poetics and tracing avant-garde literary genealogies, Brutalist Readings explores radical histories of writing and its current potential.

October 2016 / Softcover
5 ¾ x 8 ¹⁄³ in. / 186 pp
ISBN: 978-3-95679-155-0 · Retail Price: $25.00

Mime Radio

Benjamin Seror

Future (Ed.)

A story about how language and perception intermingle, Mime Radio was performed as spoken word by French artist Benjamin Seror at a series of events over a two-year period before being transcribed and edited into this novel. The story follows five eccentric characters who meet at a Los Angeles bar called Tiki Coco and join “Challenging Reality Open Mic” night for amateur inventors and performers. Eventually the group moves into a Hudson River Valley house to pursue experiments in thought transmission and other tools for shifting reality. In the process, they get caught up enabling a character from ancient Greek mythology, Marsyas, to recover his voice—a very ancient voice—and unbeknownst to them unleash a disaster. In his performances where speech is the principal subject and tool, Benjamin Seror narrates long improvised stories inspired by a mix of phantoms of literature, art history and everyday adventures.

October 2015 / Hardcover
5 3/4 x 9 inches / 136 pp
ISBN: 978-3-95679-151-2 · Retail Price: $28.00


Hard Cores In Hard-Hearted Chords
Freek Lomme & Joan van Barneveld

Onomatopee curator, art critic and poet Freek Lomme and artist Joan van Barneveld are connected by their dedication to the “hard cores in hard-hearted chords.” Their collaboration—an illustrated collection of poems—eloquently records their respective travel adventures and pays tribute to their shared need for a sense of place while in transition. Lomme’s poems evolved between 2008 and 2014 while he was on the road; Van Barneveld made her sketches and silkscreens of photos from a visit to Los Angeles. During Joan van Barneveld’s exhibition at Onomatopee’s art space, Lomme and Barneveld decided to combine her visual material with his unpublished poems. The result is an artist’s book that exudes the palpable energy of their commitment to depth while engaging art’s potential to articulate the indeterminate as they search for a profound, honest position in an expanding world.

July 2015 / Softcover
3 1/2 x 6 inches / 176pp / 26 color
ISBN: 978-94-91677-32-8 · Retail Price: $10.00


Camiel van Winkel

Artisthood is a myth—even today. Just as the so-called “aura” of the work of art, demolished on countless occasions in the 20th century, rises repeatedly from the ashes, so too do clichéd ideas about the visionary artist and the healing power of art continue to recur. Are all artists, by definition, trapped in the myth of artisthood? Can this myth be ignored, diffused or even dismantled? Art historian and philosopher Camiel van Winkel’s celebrated 2008 essay, one of the first published in a series by the Mondriaan Fund (former Fonds BKVB), explores those specific questions. In the five years since its original publication, the text, which developed from the author’s involvement in a research group at AKV|St. Joost, has made a significant contribution to the discourse on what it means to be an artist today. This new English-language edition was prepared with Van Winkel, who contributed a new afterword.

September 2013 / Hardcover / 4 1/2 x 7 2/3 inches
85 pp
ISBN: 978-90-76936-40-6 · Retail Price: $25.00


The Glossary of Cognitive Activism

We live in a world of tremendous connectivity and little collectivity, leaving us witness to the diffuse degrading of personal freedoms. The resurgence of racism and sexism, the power of the global art market, the de-emphasis of theory and humanities curriculum in universities and the various assaults on privacy, such as digital profiling, are just a few examples of the strategy of normalization and governmentalization in the digital economy. That massive demonstrations against American and British involvement in the Iraq War had no effect is a direct result of our use of archaic forms of resistance to solve 21st-century problems. Artist/writer Warren Neidich’s thought-provoking and timely softcover publication Glossary of Cognitive Activism updates the epistemological foundations of resistance. Cognitive capitalism assumes that wealth production is the product of a brain highly attuned to hyper-branded, designed sensibilities. This project considers as antidote the role of diverse aesthetic production in the creation of diverse neural maps and network configurations.

May 2017 / Softcover
4 ½ x 7 ¼ in. / 80 pp
ISBN: 978-3-943620-51-1 · Retail Price: $10.00



Anna Altman (Ed.)

In this absorbing theoretical manifesto, Israeli curator Joshua Simon argues that we have moved into an economy of neomaterialism. Despite the rhetoric of dematerialization in art practices since the 1960s, the embodiment of materiality has actually just shifted: the focus of labor has moved from production to consumption, the commodity has become the historical subject and symbols now behave like materials. Here, Simon advocates for the unreadymade, sentimental value and the promise of the individual as a means for a vocabulary in this new economy of meaning. Reflecting on general intellect as labor and the subjugation of an overqualified generation to the neo-feudal order of debt finance, Neomaterialism merges traditions of epic communism with the communism that is already here.

September 2013 / Softcover / 4 3/4 x 7 3/4 inches 194 pp / 14 b&w
ISBN: 978-3-943365-08-5 · Retail Price: $23.00


Contextualizing Early Web-Based Art

Dieter Daniels and Gunther Reisinger

The hype around Net-based art began in the early 1990s, before the Internet had become a commodity. It developed in skeptical parallel to the rise and decline of the new economy. But why does this chapter of art history appear to end so suddenly? This idea-packed reader about media art history takes a new, interdisciplinary look at the historical, social, and economic dynamics of our contemporary, networked society. Editors Daniels and Reisinger, both experts in archiving, restoring and contextualizing Net-based art, have chosen essays resulting, partly, from the Ars Electronica 2007 conference, and partly from more recent approaches. Contributions cover a wide variety of topics, ranging from art-scholarly methodological debate and source-critical analysis, to media-philosophical aspects and technical and artistic innovations.

Sternberg Press, Berlin/New York
Ludwig Boltzmann Institute, Austria
2010 / Hardcover / 5 1/2 x 8 1/2 inches / 244 pp / 15 b&w
ISBN: 978-1-933128-71-9 · Retail Price: $24.95

Nicolas Bourriaud


Nicolas Bourriau

Post-Production is the most recent essay by French curator, art critic and writer Nicolas Bourriaud. Bourriaud examines the trend, since the early 1990s, in which an increasing number of artists interpret, reproduce, re-exhibit or use works produced by others, or available cultural products, as art. Post-Production responds to the chaos of global culture in the information age. Notions of originality and creation are blurred in this new cultural landscape.

Lukas & Sternberg, New York
2002/2005, 2nd edition, Series 007
English and German text
96 pp, text only
Softcover, 4 3/8 x 6 3/4 inches
ISBN: 978-0-9745688-9-8 · Retail Price: $19.95