American visual artist and scholar Joseph Grigely (born 1956) here brings together writings, lectures, interviews and documentation of his work spanning 40 years. Deaf since the age of 10, his art and writing have long questioned and made use of various modes of communication—photographs, handwritten notes, lipreading, newspaper headlines, paintings and TV captions—to examine and scrutinize the ableism embedded in cultural and media production.Otherhow interrogates modes of access and analyzes how issues of accessibility and their resolution provide a benefit to everyone, not just the disabled. Chapters devoted to art, access and advocacy underpin the interconnected nature of these issues. Letters of complaint, faxes and emails, unpublished op-eds, exhibition proposals, statements on equality and access: each provides a glimpse into how Grigely’s work has been shaped by—or constructed from—the "tangled process" of opening access.The book is rounded out by a series of visual inventories: collections of images that document failures of access or, in the case of the obituaries, highlight those who had a disability or were activists working to establish greater access for those with disabilities.Softcover, 19.56 x 3.3 x 25.15 cm, 400pp Primary Information, 2026

Stay away from nothing shines a spotlight on the deep relationship between Paul Thek and Peter Hujar through the artists’ letters and photographs. Beginning in 1956 and spanning two decades, the publication opens a window into their intimate, complex, and beautiful lives, starting with a sequence of images by Hujar that showcases the two of them in innocent moments of pensive and haunting play in Coral Gables and beyond. These early portraits of their budding relationship are followed by several playful postcards from Thek in 1960 and his first letter to Hujar in 1962, written while the artist is in the Philadelphia harbor aboard a containership bound for Europe. In the letter, Thek is brimming with joy and new discoveries and exclaims that the world “seems bigger and more gloriously strange than ever before in my entire life.” The two eventually meet in Rome, where they both begin to evolve into the icons we know them as today, and the remaining letters trace Thek’s travels and adventures, romantic dalliances, work, and financial ups and downs through 1975. More than fifty letters and postcards, along with drawings and other ephemera, are reproduced in Stay away from nothing and their poetic, quotidian, and melancholic tone provide a rare glimpse into Thek and Hujar’s relationship as it wavers with seduction, glamor, tumult, and mischievousness. Throughout this period, Hujar was photographing Thek in his now-iconic style, capturing him in Italy, in various studios, and on the beaches of Fire Island. Included are the artist’s classic images of Thek in the catacombs in Palermo, as well as his studio portraits of the artist creating The Tomb. Among these well-known works are dozens of other photographs, many unpublished until now, including candid portraits of Thek, as well as images of the two artists goofing around or posing for passport photos. Collectively, these images demonstrate not only the complex emotional interiority of Thek but the tender, dark, and hopeful connection between the two artists, lovers, and friends. An afterword is provided by Andrew Durbin, author of A Wonderful World that Almost Was, a biography of Peter Hujar and Paul Thek.Edited by Francis Schichtel Paperback, 9 x 12 inches, 192 pp Primary Information, 2025   Paul Thek (b. 1933) is among the most legendary and elusive artists of the post-1960s generation. He burst onto the New York scene with his Technological Reliquaries series, then known as “meat pieces,” which challenged Pop and Minimalism with an idiosyncratic approach that merged earnest posthuman embodiment and a critique of contemporary art trends. In Europe in the 1970s, he created new modes of exhibition-making that involved the creation of elaborate, ephemeral installations composed of sand, candles, newspaper, chicken-wire, Polaroids, and discarded furniture. Upon returning to New York in the later years of his career, he produced his deliberately “bad paintings” while continuing his longest-running series of paintings executed on newspaper, works that poignantly underscore his sustained engagement with themes of ephemerality and the passage of time. Thek died of AIDS in 1988. Peter Hujar (b. 1934) died of AIDS in 1987, leaving behind a complex and profound body of photographs. Hujar was a leading figure in the group of artists, musicians, writers, and performers at the forefront of the cultural scene in downtown New York in the 1970s and early 80s, and he was enormously admired for his completely uncompromising attitude towards work and life. He was a consummate technician, and his portraits of people, animals, and landscapes, with their exquisite black-and-white tonalities, were extremely influential. Highly emotional yet stripped of excess, Hujar’s photographs are always beautiful, although rarely in a conventional way. His extraordinary first book, Portraits in Life and Death, with an introduction by Susan Sontag, was published in 1976, but his “difficult” personality and refusal to pander to the marketplace ensured that it was one of the last publications during his lifetime.

N.H. Pritchard didn’t see the fruit of his labor during his lifetime, but now is recognized as a predecessor of the Rap and Language poets. -Ishmael Reed   Norman Henry Pritchard was born in New York City in 1939 and studied at New York University and Columbia University. His work has been published in two collections: The Matrix Poems: 1960–1970 (1970) and Eecchhooeess (1971). His poetry was featured in the journals Umbra and The East Village Other, performed on the jazz poetry compilation New Jazz Poets (1967), and anthologized in The New Black Poetry (1969) and In a Time of Revolution: Poems from Our Third World (1969). Pritchard taught poetry at the New School for Social Research and was a poet-in-residence at Friends Seminary. He died in eastern Pennsylvania on February 8, 1996.   Paperback, 152pp Primary Information, October 2024The Mundus is Norman Pritchard’s magnum opus, a mysterious work that is both visual and poetic, literary and mystical. The work was composed between 1965 until at least July 1971, a six-year period during which the author refined and reworked its pages, seeking out new literary forms alongside personal transcendence. As Pritchard mentions in a letter to Ishmael Reed in 1968, “Literature in and of itself doesn’t seem to have a broad enough scope for me anymore.” Despite its ambitions and grand scope, The Mundus has gone unpublished for over fifty years. Subtitled “a novel with voices,” The Mundus combines Pritchard’s earlier poetic innovations with his growing interest in theosophy, exploring a spiritual terrain he enigmatically dubbed the transreal. Appropriately, this lost masterpiece represents some of Pritchard’s most challenging work, with the text proceeding in small leaps and sublime fractures, stuttering across the page with sonic and visual momentum as it threads through an immersive, textual mist comprised solely of the letter “o”. Pritchard found early success with his books The Matrix and EECCHHOOEESS, experimental texts that, in part, bear the imprint of the avant-garde arts, music, and poetry communities of the late 1960s, in particular the Umbra group, a collective of Black poets of which he was a leading member. But The Mundus finds Pritchard at his most radical and revelatory, putting forth a profound act of negation, while it delves readers into a primordial soundscape populated by language’s essential building blocks. An early pillar of Black poetics and a world unto itself, The Mundus must be sounded out not only with the mind, but also with the mouth, body, and soul.

I want art to stand strong, to display how it manipulates its audience. I want it to take up their expectations, their sense of the world, their predispositions toward the way they think or use their language, and then to use these things perversely, politically, colorfully, “expressively.” —Tony Conrad, “Dolomite: Having No Trust in Readers”Writings is the first collection to widely survey this singular polymath’s prolific activity as a writer. Edited by artists Constance DeJong and Andrew Lampert, the book spans the years 1961 – 2012 and includes fifty-seven pieces: essays originally published in small press magazines, exhibition catalogs, anthologies, and album liner notes, along with other previously unpublished texts. Conrad writes about his own work, with substantial contributions on The Flicker, Loose Connection, Four Violins, Articulation of Boolean Algebra for Film Opticals, Early Minimalism, Yellow Movies, Slapping Pythagoras, and Music and the Mind of the World, as well as that of his peers: Tony Oursler, Jack Smith, Rhys Chatham, and Henry Flynt, among others. He devotes critical essays both to grand subjects—horology, neurolinguistics, and the historical development of Western music—and more quotidian topics, such as television advertising and camouflage. He also writes on media activism, network communications, censorship, and the political and cultural implications of corporate and global media. No matter the topic or theme, Conrad always approaches his subjects with erudition, precision, and a healthy twist of humor. Tony Conrad (1940–2016) was a multidisciplinary artist known for his groundbreaking art, music, films, and videos, although his work doesn’t fit comfortably within any of these disciplines. He eschewed categorization and actively sought to challenge the constraints of media forms, their modes of production, and the relationships of power embedded within them. --- 576 pages5 x 7.4 inchesPaperbackEdition of 2000

A Something Else Reader is a previously-unpublished anthology edited by Dick Higgins in 1972 to celebrate Something Else Press, the publishing house he founded in 1963 to showcase Fluxus and other experimental artistic and literary forms. The publication features selections from Claes Oldenburg’s Store Days, John Cage’s Notations, An Anthology of Concrete Poetry, Breakthrough Fictioneers, Jackson Mac Low’s Stanzas for Iris Lezak, Gertrude Stein’s Matisse Picasso and Gertrude Stein, Bern Porter’s I’ve Left, Wolf Vostell’s Dé-coll/age Happenings, Al Hansen’s A Primer of Happenings & Time/Space Art, and other projects for the page by Robert Filliou, Alison Knowles, Nam June Paik, Philip Corner, Daniel Spoerri, André Thomkins, and Richard Meltzer, among others. An annotated checklist assembled by Hugh Fox and Higgins’s unpublished introduction are also included. Perhaps no other publisher in the 60s influenced artists’ books more than Something Else Press. Higgins had a firm vision that radical art could be housed in book form and distributed throughout the world and he worked endlessly to cultivate new works that challenged conventional notions of both contemporary art and books. While other presses created extraordinary publications, none were able to achieve the breadth of titles and artists like Higgins, who successfully ran Something Else Press until 1974 in a manner that resembled a more traditional paperback publisher. Oddly, Higgins hadn’t intended to publish A Something Else Reader himself. Instead, in 1972, he assembled the table of contents and an introduction into a proposal that he then pitched to Random House. They eventually rejected the title and encouraged Higgins to publish it, but before he could do that, Something Else Press went out of business, and the dreams of the anthology evaporated. From there, the proposal went into Higgins’s archive, where it was found by scholar and curator Alice Centamore, who compiled the works and assembled A Something Else Reader. Eleanor Antin, George Brecht, Pol Bury, Augusto de Campos, Clark Coolidge, Philip Corner, William Brisbane Dick, Robert Filliou, Albert M. Fine, Ian Hamilton Finlay, Hugh Fox, Buckminster Fuller, Eugen Gomringer, Brion Gysin, Richard Hamilton, Al Hansen, Jan J. Herman, Dick Higgins, Åke Hodell, Ray Johnson, Allan Kaprow, Kitasono Katue, Bengt af Klintberg, Alison Knowles, Richard Kostelanetz, Ruth Krauss, Jackson Mac Low, Robert K. Macadam, Toby MacLennan, Hansjörg Mayer, Charles McIlvaine, Richard Meltzer, Manfred Mohr, Claes Oldenburg, Pauline Oliveros, Nam June Paik, Benjamin Patterson, Charles Platt, Bern Porter, Dieter Roth, Aram Saroyan, Tomas Schmit, Carolee Schneemann, Mary Ellen Solt, Daniel Spoerri, Gertrude Stein, André Thomkins, Wolf Vostell, and Emmett Williams are all included in A Something Else Reader. Dick Higgins was an American artist, composer, theorist, poet, and publisher, as well as a co-founder of Fluxus. After attending Yale and Columbia Universities and receiving a BA in English, he graduated from the Manhattan School of Printing. He studied music composition with Henry Cowell, attended John Cage’s course in experimental music at The New School, and participated in the inaugural Fluxus activities in Europe from Fall 1962 to Summer 1963. He founded Something Else Press in 1963 and in 1972, he founded Unpublished Editions (later renamed Published Editions). Over the course of his life, Higgins wrote and edited forty-seven books. Softcover, 368 pgs, 23.5 × 15 cm Primary Information, 2022

Primary Information, 2024, Softcover, 208 pages, 18 × 11 cmThis collection of writings by artist and filmmaker Tiffany Sia gathers six essays that offer a framework for an exilic, fugitive cinema. Sia addresses geopolitics in cinema, image circulation, and national imaginaries, highlighting the stakes of deterritorializing the discursive formation of new media and film practices and making the case for the continued relevance of cinema in an era of networked images and screen ubiquity. An essential counterpart to Sia’s films and artworks, this volume is a critical intervention into global film studies, the politics of film/photographic practices, and experimental approaches to documentary. As a practitioner and thinker, Sia has been at the forefront of a new generation of filmmakers working with new vernacular media to trace and comment on social unrest and political crackdowns. Drawing from personal experience and historical study, the essays in this volume offer urgent reflections on a cultural landscape changed by national-security policies, shadow bureaucracies, censorship, and surveillance.

80 pages10.5 x 14 inchesPaperbackMarch 2024ISBN: 9798987624982 Artists featured in The Fluxus Newspaper include: Ay-O, Carol Bergé, Joseph Beuys, Elaine Bloedow, George Brecht, Christo, Philip Corner, Walter De Maria, Willem de Ridder, Bern Erismann, Nye Ffarrabas [participating as Bici Forbes], Robert Filliou, Henry Flynt, Ken Friedman, Carolyn Krumm, Heinz Gappmayr, Eugen Gomringer, Raymond Hains, Dick Higgins, Geoffrey Hendricks, Jon Hendricks, Alice Hutchins, Tatsu Izumi, Ray Johnson, Joe Jones, Allan Kaprow, Milan Knížak, Alison Knowles, Arthur Köpcke, Takehisa Kosugi, Ruth Krauss, Philip Krumm,  György Ligeti, George Maciunas, Angus MacLise, Jackson Mac Low, Larry Miller, Peter Moore, Hans Nordenström, Yoko Ono, Nam June Paik, Benjamin Patterson, James Riddle, Dieter Roth, Takako Saito, Mieko Shiomi, Tomas Schmit, Daniel Spoerri, Christer Strömholm, Yasunao Tone, Stan VanDerBeek, Ben Vautier, Jacques Villeglé, Wolf Vostell, Yoshimasa Wada, Robert Watts, Emmett Williams, William S. Wilson, La Monte Young, Marian Zazeela.he Fluxus Newspaper collects all eleven newspapers published by the Fluxus art collective between January 1964 and March 1979. The newspapers were edited by an ever-changing team of artists known as the Fluxus Editorial Council for Fluxus and every issue, except the last two, was designed by Fluxus founder George Maciunas. Although published irregularly, the newspapers were used to promote Fluxus events and publications, especially the group’s famous multiples and Fluxkits, with advertising materials, order forms, and pricelists interspersed throughout. More than just a space for promotion and information, the Fluxus newspapers featured the work of over sixty artists as well as appropriated newspaper headlines, advertisements, articles, and comic strips that are indicative of the group’s anti-art sensibility and characteristic humor. Issues of the newspapers were originally designated as cc V TRE after the earlier, one-off publication V TRE, which artist George Brecht released on occasion of the Yam Festival (1963). The use of “cc” in these early issues indicated that the publication was a copy of Brecht’s original version. After the first two releases, the editors started to play with various other titles containing “V TRE,” producing issues titled cc Valise e ThReE, Vacuum TRapEzoid, and Vaseline sTREet, among others.

Big one! This ships via courier rather than Royal mail as weighs over 2k. Please add your phone number to your order when booking shipping.  592 pages8.5 x 11 inchesPaperbackEdition of 4000September 2023Dear Jean Pierre collects David Wojnarowicz’s transatlantic correspondence to his Parisian lover Jean Pierre Delage between 1979 and 1982. Capturing a truly foundational moment for Wojnarowicz’s artistic and literary practice, these letters not only reveal his captivating personality—and its concomitant tenderness, compassion, and neuroses—but also index the development of the visual language that would go on to define him as one of the preeminent artists of his generation. Through this collection, readers are introduced to Wojnarowicz’s Rimbaud series, the band 3 Teens Kill 4, the publication of his first photographs, his early friendship with Peter Hujar, his participation in the then-emerging East Village art and music scenes, and the preparations for the publication of his first book. Included with these writings are postcards, drawings, xeroxes, photographs, collages, flyers, ephemera, and contact sheets that showcase some of the artist’s iconic images and work, such as the Burning House motif and Untitled (Genet, after Brassai). Beyond these milestones, the book offers a striking portrayal of Wojnarowicz as a twenty-something, detailing his day-to-day life with the type of unbridled earnestness that comes with that age and the softness of love and longing. This disarming tenderness provides a picture of a young man just beginning to find his voice in the world and the love he has found in it. Although the two exchanged letters in equal measure, Delage’s correspondences have largely been lost, leaving us with only a revelatory glimpse into the internal world of Wojnarowicz during what turned out to be his formative years. David Wojnarowicz (1954-1992) was born in Red Bank, New Jersey. Wojnarowicz channeled a vast accumulation of raw images, sounds, memories and lived experiences into a powerful voice that was an undeniable presence in the New York City art scene of the 1970s, 80s and early 90s. Through his several volumes of fiction, poetry, memoirs, painting, photography, installation, sculpture, film and performance, Wojnarowicz left a legacy, affirming art’s vivifying power in a society he viewed as alienating and corrosive. His use of blunt semiotics and graphic illustrations exposed what he felt the mainstream repressed: poverty, abuse of power, blind nationalism, greed, homophobia and the devastation of the AIDS epidemic. Wojnarowicz died of AIDS-related complications on July 22, 1992 at the age of 37.

346 pages 7.75 x 10 inches Paperback Edition of 3000 February 2020 ISBN: 9781732098633 Published by Primary informationOriginally published in 1974 by the Nova Scotia College of Art and Design, Yvonne Rainer’s Work 1961-73 documents the artist’s landmark early works at the intersection of dance, performance, and art. The publication provides multifaceted insight into some of the artist’s most celebrated choreographic works, including Terrain (1962), Trio A (1966), Continuous Project-Altered Daily (1970), War (1970), Street Action (1970), and This is the story of a woman who … (1973), among many others. Assembled ostensibly as a survey, Work 1961-73 features a multitude of documentary forms, including scripts, excerpts from the artist’s notebooks, press reviews, correspondence, photographic documentation, literary excerpts, contextualizing texts by the artist, diagrams, film stills, floor plans, scores, and more. As such, the publication resembles an artist book that generously gives the reader access to Rainer’s modes of working, as well as the social and political context around which the work was made. The publication is also a book of writing, with the artist’s frank, witty, and sometimes humorous prose intimately leading the reader through each work. As the artist states in the book’s introduction: I have a longstanding infatuation with language, a not-easily assailed conviction that it, above all else, offers a key to clarity. Not that it can replace experience, but rather holds a mirror to our experience, give us distance when we need it. So here I am, in a sense, trying to ‘replace’ my performances with a book, greedily pushing language to clarify what already was clear in other terms. But, alas, gone. This has seemed one good reason to compile a book ‘out of’ the remains of my performances, letting the language fall where it may. Let it be said simply “She usually makes performances and has also made a book.” Work 1961-73 is an indispensable publication for anyone interested in the artist and the radical developments in dance and performance in the 1960s. Yvonne Rainer (b. 1934) is a dancer, choreographer, writer,and filmmaker. She is a co-founding member of the Judson Dance Theater and worked primarily as a dancer and choreographer from the early 1960s through the early 1970s. Her choreographic work is widely recognized for blurring the lines between performers and non-performers, incorporating gestural and pedestrian movements, as well as classical dance steps and theatre. In 1972, Rainer began making films, producing seven experimental features, including Lives of Performers (1972), Privilege (1990), and MURDER and murder (1996). She returned to dance in 2000, producing new works commissioned by the Baryshnikov Dance Foundation, the Performa Biennial, and The Museum of Modern Art. She is the author of several books including Feelings Are Facts: A Life (2006), A Woman Who…: Essays, Interviews, Scripts (1999), and Poems (2012). She is the recipient of a MacArthur Fellowship, two Guggenheim Awards, The Foundation for Contemporary Art’s Merce Cunningham Award, and a USA Grant

Publisher Ugly Duckling Press & Primary Information SBN: 978-1-734489-79-8 Trade Paperback 232 pp, 5.375 x 8.125 in Publication Date: March 02 2021Long out of print, Norman H. Pritchard’s masterworkpresents a decade of poetic experimentation from 1960 to 1970. Inflected with—and perhaps an influence on—Black Arts, the precise architecture of Pritchard’s book (the poems and their design) stage an unexpected meeting of Concrete Poetry with Olson’s “open field” poetics and Cage’s chance operations. The seventy-one poems of Pritchard’s debut might be regarded, as Charles Bernstein has written, as “sound” poems tethered not only to the literature of the early Umbra group and the Black Arts Movement but also to jazz culture and urban life in New York. Drawing as much from the visual arts as from sound-based experimentation and music, Pritchard utilized the simple tools of spacing and typography to create syncopations, vibrations, and musical rhythms. What emerges is nothing less than a self-contained system of mimetic codes that challenge modernist modes of perception and representation. Formally innovative and anticipating what Michel Riffaterre would come to call the semiotics of “ungrammaticalities,” the book is a syntactical and visual experience in repetition, stutters, and structure. --- Welcome to this 'huge/entering' of concrete breath—unprecedented, unsurpassed. Fred Moten --- This book is co-published by Primary Information, and Ugly Duckling Press, 2021

Published: Primary Information 280 pages 8.25 x 10.25 inches Paperback w/flexi disc 22 Color and 599 B&W; images Edition of 2500 Second Printing March 2019 ISBN: 9780991558599 — Managing Editor: James Hoff Managing Designer: Rick MyersBroken Music is an essential compendium for records created by visual artists. The publication was edited by Ursula Block and Michael Glasmeier and originally published in 1989 by DAAD. Broken Music focuses on recordings, record-objects, artwork for records, and record installations made by thousands of artists between WWII and 1989. It also includes essays by both editors as well as Theodor W. Adorno, René Block, Jean Dubuffet, Milan Knizak, László Moholy-Nagy, Christiane Seiffert, and Hans Rudolf Zeller, as well as a flexi disc of the Arditti Quartet performing Knizak’s “Broken Music.” The centerpiece of the publication is a nearly 200-page bibliography of artists’ records. Works chosen for the publication revolved around four criteria: (1) record covers created as original work by visual artists; (2) record or sound-producing objects (multiples/editions/sculptures); (3) books and publications that contain a record or recorded-media object; and (4) records or recorded media that have sound by visual artists. Artists documented in the volume include Vito Acconci, albrecht/d., Laurie Anderson, Guillaume Apollinaire, Karel Appel, Arman, Hans Arp, Antonin Artaud, John Baldessari, Hugo Ball, Claus van Bebber, John Bender, Harry Bertoia, Jean-Pierre Bertrand, Joseph Beuys, Mel Bochner, Claus Böhmler, Christian Boltanski, KP Brehmer, William Burroughs, John Cage, Henri Chopin, Henning Christiansen, Jean Cocteau, William Copley, Philip Corner, Merce Cunningham, Hanne Darboven, Jim Dine, Marcel Duchamp, Max Ernst, Lawrence Ferlinghetti, Fischli and Weiss, R. Buckminster Fuller, Allen Ginsberg, Philip Glass, Jack Goldstein, Peter Gordon, Hans Haacke, Richard Hamilton, Bernard Heidsieck, Holger Hiller, Richard Huelsenbeck, Isidore Isou, Marcel Janco, Servie Janssen, Jasper Johns, Joe Jones, Thomas Kapielski, Allan Kaprow, Martin Kippenberger, Per Kirkeby, Cheri Knight, Milan Knizak, Richard Kriesche, Christina Kubisch, Laibach, John Lennon, Sol Lewitt, Roy Lichtenstein, Annea Lockwood, Paul McCarthy, Meredith Monk, Josef Felix Müller, Piotr Nathan, Hermann Nitsch, Albert Oehlen, Frank O’Hara, Claes Oldenburg, Yoko Ono, Dennis Oppenheim, Nam June Paik, Charlemagne Palestine, A.R. Penck, Tom Phillips, Robert Rauschenberg, The Red Crayola, Ursula Reuter Christiansen, Gerhard Richter, Jim Rosenquist, Dieter Roth, Gerhard Rühm, Robert Rutman, Sarkis, Thomas Schmit, Conrad Schnitzler, Kurt Schwitters, Selten Gehörte Musik, Richard Serra, Robert Smithson, Michael Snow, Keith Sonnier, Strafe für Rebellion, Jean Tinguely, Moniek Toebosch, Tristan Tzara, Ben Vautier, Yoshi Wada, Emmett Walsh, Andy Warhol, William Wegman, and Lawrence Weiner. Ursula Block is a curator living in Berlin, Germany. From 1981 until 2014, she ran gelbe Musik, a gallery and record shop in Berlin that featured work by artists at the crossroads between music and art. Michael Glasmeier is a professor, writer, and editor living in Berlin, Germany. Since the early 1980s, he has curated dozens of shows that explore the intersection between the visual arts, music, film, and language.