American critic and curator Vince Aletti has been collecting photographs printed on the pages of magazines and books since the 1970s. For as long as I can remember,” he says, one of the first things I do in a new apartment is pin pictures to the wall. It’s always been a way of claiming space, of making it my own. But even after I’ve settled in, I keep a wall where constellations of push-pinned images change regularly. Many of those pictures have been with me for decades; others are new—torn from the pages of the latest Artforum or i-D, or . . . .go to book page >>

From the advent of early colonial photography in the 19th century to contemporary white savior” social-media images, photography continues to play an integral role in the maintenance of white sovereignty. As various scholars have shown, the technology of the camera is not innocent, and neither are the images it produces.
The invention and continuation of the white race” is not just a political, social and legal phenomenon; it is also a complexly visual one. What does whiteness look like, and how might we begin to trace an antiracist history of artistic resistance that works against it? The Image of Whiteness seeks . . . .go to book page >>

This book of multivalent narratives began with a simple premise: the collection of sheets of paper—ripped from books—featuring multiple photographs and inlaid narratives. Across a decade of working on other projects involving pulling images apart from one another, excising them from the page and recontextualizing them as new sets, American artist Carmen Winant diligently collected disparate sheets, skimming them off the top of her other ongoing collections. The book that has resulted from that work is wide-ranging in terms of subject—with sheets depicting rabbinical study, dog training, surgical birth, methods of tantric sex, patterns of the sunset—yet specific in approach . . . .go to book page >>

Cofounded in 2017 by authors Claudia Rankine and Beth Loffreda, the Racial Imaginary Institute (TRII) is an interdisciplinary collective of artists, writers, knowledge-producers and activists. The institute’s historic 2018 symposium On Whiteness” convened a dazzling array of thinkers, artists and activists. The essays that resulted from the event, collected here, seek to examine whiteness as a source of often unquestioned or even unobserved power, and make visible variations of this dangerous ideology that has been intentionally positioned as neutral.
In our current moment, whiteness is freshly articulated: as a source of unquestioned power, and as a bloc,” it feels itself endangered . . . .go to book page >>

In a series of textual and photographic essays, writer and editor Catherine Taylor explores our encounters with the intersection of the visual and the verbal. Taylor riffs on and subverts Roland Barthes’ classic 1977 essay collection, Image Music Text, using his title as a playful point of departure for her thinking about the nature of image-text works and the music being made at their intersection.
Taylor rejects overarching statements about medium or genre in favor of observing the particular to reveal broader ways of reading that are both familiar and disorientating. These reflections are at once critical and celebratory, dystopian and . . . .go to book page >>