{"title":"Fees products","description":null,"products":[{"product_id":"some-styles-of-masculinity","title":"Some Styles of Masculinity by Gregg Bordowitz \u0026 Hua Hsu","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003ch5 data-mce-fragment=\"1\"\u003e\n\u003cem data-mce-fragment=\"1\"\u003eSome Styles of Masculinity \u003cbr data-mce-fragment=\"1\"\u003e \u003c\/em\u003eBy Gregg Bordowitz \u003cbr data-mce-fragment=\"1\"\u003e Introduction by Hua Hsu \u003cbr data-mce-fragment=\"1\"\u003e Published by Triple Canopy, October 2021 \u003cbr data-mce-fragment=\"1\"\u003e Perfect-bound, 256 pp, 4.33\" × 7\" \u003cbr data-mce-fragment=\"1\"\u003e One-color offset printed \u003cbr data-mce-fragment=\"1\"\u003e ISBN 978-0-9978524-5-5\u003c\/h5\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eSome Styles of Masculinity\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eis an intimate, urgent, and rollicking account of thinking and enduring through upheaval and plague. Prompted by the surge of white nationalism in the United States, Gregg Bordowitz reflects on his experience of assimilation and marginalization as a Yinglish-speaking child of outer-borough Jews and a queer person who has been living with AIDS since his twenties. He tells his own story by considering three totems of masculinity that were formative to him as he came of age in New York City in the 1970s and ’80s: the rock star, the rabbi, and the comedian. These figures taught Bordowitz how to balance reinvention and tradition, and how to be different even as difference is under assault.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eIn establishing his own rebellious masculinity, Bordowitz embraces outcasts, outsiders, queers, perverts, addicts, and other agents of chaos.\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eSome Styles of Masculinity\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eis adapted from a series of improvised monologues, and the book maintains the freewheeling style, casual erudition, and extraordinary range of Bordowitz’s performances: he fashions himself after Lenny Bruce and Lou Reed, scrutinizes the role of race in\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eSeinfeld\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eand klezmer, skewers Trump-era late-night routines and Hollywood AIDS stories, listens to punk anthems and quotes theology. He merges personal and political history, ribald humor and social criticism, performer and persona. Ultimately, he contends with the strictures of nationality and wages of whiteness, which prompt him to make the case for inhabiting many identities and speaking with many voices.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eSome Styles of Masculinity\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eis indebted to David Antin’s “talk poems,” which transcribe the author’s monologues, as well as Stuart Hall’s writing on the formation of identities via race, ethnicity, and nation. The book also evokes Maggie Nelson’s “autotheory,” Sarah Schulman’s\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eLet the Record Show: A Political History of ACT UP New York\u003c\/em\u003e, and Wayne Koestenbaum’s chatty, warped criticism.\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eSome Styles of Masculinity\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eis less of a document than an inimitable mind come to life on the page: a vital reflection on living as “a vector of contagion” and an exuberant appreciation of the art, music, scripture, jokes, and relationships that make doing so possible, even pleasurable.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eSome Styles of Masculinity\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eincludes an introduction by Hua Hsu.\u003c\/p\u003e\n\u003cdiv class=\"alongslide enter section\" data-alongslide-id=\"three\" data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/div\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eThe eponymous series of monologues was commissioned by and premiered at the New Museum in 2018, as part of the exhibition “Trigger: Gender as a Tool and a Weapon.” The monologues were subsequently presented by the Douglas F. Cooley Memorial Art Gallery at Reed College (during Portland Institute for Contemporary Art’s TBA Festival) and the Art Institute of Chicago. As part of his current retrospective, “I Wanna Be Well,” Bordowitz will reprise the performances at\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003ca href=\"https:\/\/www.moma.org\/calendar\/events\/7096\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.moma.org\/calendar\/events\/7096\" target=\"_blank\"\u003eMoMA PS1\u003c\/a\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eon September 17, 18, and 19, 2021; Artbook @ MoMA PS1 will host an event to celebrate the publication of the book in early October.\u003c\/em\u003e\u003c\/p\u003e\n\u003cdiv class=\"alongslide enter section\" data-alongslide-id=\"one\" data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/div\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eGregg Bordowitz\u003c\/strong\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eis an artist, writer, activist, and educator who lives in New York City. He is the author of\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eThe AIDS Crisis Is Ridiculous and Other Writings, 1986–2003\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e(2004),\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eGeneral Idea: Imagevirus\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e(2010),\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eVolition\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e(2010), and\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eGlenn Ligon: Untitled (I Am a Man)\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e(2018). Bordowitz’s work has been exhibited at Artists Space, the Solomon R. Guggenheim Museum, the Museum of Modern Art, the New Museum, and the Whitney Museum, among other institutions. His retrospective, “Gregg Bordowitz: I Wanna Be Well,” is\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003ca href=\"https:\/\/www.moma.org\/calendar\/exhibitions\/5207\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.moma.org\/calendar\/exhibitions\/5207\" target=\"_blank\"\u003eon view at MoMA PS1\u003c\/a\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e(New York) until October 11; the exhibition was organized by the Douglas F. Cooley Memorial Art Gallery at Reed College (Portland), and subsequently presented at the Art Institute of Chicago. Bordowitz has made numerous contributions to Triple Canopy, including the three-episode advice show\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003ca href=\"https:\/\/www.canopycanopycanopy.com\/issues\/26\/contents\/answers-with-questions\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.canopycanopycanopy.com\/issues\/26\/contents\/answers-with-questions\" target=\"_blank\"\u003e\u003cem data-mce-fragment=\"1\"\u003eAnswers with Questions\u003c\/em\u003e\u003c\/a\u003e, and was honored at the magazine’s 2020 benefit.\u003c\/p\u003e\n\u003cdiv class=\"alongslide enter section\" data-alongslide-id=\"two\" data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/div\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eHua Hsu\u003c\/strong\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eis a writer living in New York City. He is a staff writer at the\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eNew Yorker\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eand an associate professor of English and director of the American Studies program at Vassar College. Hsu has contributed to\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eArtforum\u003c\/em\u003e, the\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eAtlantic\u003c\/em\u003e,\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eSlate\u003c\/em\u003e, the\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eWire\u003c\/em\u003e, and Triple Canopy, among other publications, and has been a fellow at the New York Public Library’s Dorothy and Lewis B. Cullman Center and the New America Foundation. In 2019, he co-curated “The Moon Represents My Heart,” an exhibition about music and Chinese-American life at the Museum of Chinese in America (New York City). He is the author of\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eA Floating Chinaman: Fantasy and Failure Across the Pacific\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e(2016), as well as a forthcoming memoir,\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eStay True\u003c\/em\u003e, and an essay collection,\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eImpostor Syndrome\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eDistributed by \u003c\/span\u003e\u003ca href=\"http:\/\/www.artbook.com\/9780984734627.html\" target=\"_blank\"\u003eARTBOOK | D.A.P.\u003c\/a\u003e\u003cspan\u003e\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eSupport for \u003c\/span\u003e\u003cem\u003eSome Styles of Masculinity\u003c\/em\u003e\u003cspan\u003e has been provided by the Stolbun Family, Gregory R. Miller \u0026amp; Michael Wiener, and the Douglas F. Cooley Memorial Art Gallery at Reed College. Triple Canopy is grateful to them and to the generous supporters of the magazine’s 2020 benefit, which honored Gregg Bordowitz, as well as Leidy Churchman, Rashid Johnson, Amy Sillman, and Christopher Williams, who contributed artworks. Triple Canopy also thanks the New Museum, the Cooley Gallery at Reed College, and the Art Institute of Chicago, where Bordowitz has performed Some Styles of Masculinity, as well as MoMA PS1, which will host an event to launch the book in October, following Bordowitz’s reprisal of the monologues at the museum.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eTriple Canopy gratefully acknowledges the generous support of the Andy Warhol Foundation for the Visual Arts, Horace W. Goldsmith Foundation, Lambent Foundation\/Fund of Tides Foundation, New York State Council on the Arts, and New York City Department of Cultural Affairs in partnership with the City Council, the Opaline Fund, as well the magazine’s Board of Directors, Director’s Circle, Publishers Circle, and the many individuals whose contributions sustain the magazine.\u003c\/span\u003e\u003c\/p\u003e","brand":"Triple Canopy","offers":[{"title":"Default Title","offer_id":42828229640449,"sku":"Some-Styles-of-M","price":20.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0634\/7931\/6737\/products\/some_styles_thumb_d09c50d4-ebd4-4565-8771-e09fad556c18.jpg?v=1652211853"},{"product_id":"international-art-english","title":"International Art English by Alix Rule \u0026 David Levine with Mariam Ghani \u0026 Alexander Provan","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003eDownload EPUB via \u003ca data-mce-fragment=\"1\" href=\"https:\/\/books.apple.com\/us\/book\/international-art-english\/id1476317531\" data-mce-href=\"https:\/\/books.apple.com\/us\/book\/international-art-english\/id1476317531\" target=\"_blank\"\u003eApple Books\u003c\/a\u003e ($3.99)\u003cbr\u003eDownload MOBI via \u003ca href=\"https:\/\/www.amazon.com\/dp\/B07WHMJSP3\"\u003eAmazon\u003c\/a\u003e ($3.99)\u003cbr\u003e\u003c\/p\u003e\n\u003ch5 data-mce-fragment=\"1\"\u003e\n\u003cem\u003eInternational Art English\u003cbr\u003e\u003c\/em\u003eby Alix Rule and David Levine, with Mariam Ghani and Alexander Provan \u003cbr\u003e Published by Triple Canopy, November 2018 \u003cbr\u003e DRM-free EPUB 3.0 \u003cbr\u003e ISBN 978-1-5323-9211-5 \u003cbr\u003e DRM-free MOBI \u003cbr\u003e ISBN 978-1-5323-9212-2\u003c\/h5\u003e\n\u003cp data-mce-fragment=\"1\"\u003eIn “International Art English,” Alix Rule and David Levine describe the language of contemporary art by analyzing a corpus of press releases sent by\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003ca data-mce-fragment=\"1\" href=\"https:\/\/www.e-flux.com\/\" data-mce-href=\"https:\/\/www.e-flux.com\/\" target=\"_blank\"\u003ee-flux\u003c\/a\u003e, which is paid to do so by museums, biennials, publishers, and art fairs in order to reach a subscriber base of more than ninety thousand art professionals. The essay appeared in 2012 and soon surpassed the popularity of every other Triple Canopy publication. “International Art English” generated innumerable conversations about the relationship between language, legibility, and power in the art world: columns in the\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eGuardian\u003c\/em\u003e, polemics in e-flux’s online journal, debates at conferences for art historians, and spirited threads on MetaFilter and Reddit. Suddenly, IAE was inescapable.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThis ebook—which is functional on all common devices, not to mention being accessible offline—includes “International Art English”; sentence trees that illustrate IAE’s lexical, grammatical, and stylistic features; a forum on IAE convened the year after the essay’s publication; a response by the artist Mariam Ghani, who participated in the forum; and a retrospective evaluation of the IAE phenomenon by Triple Canopy’s Alexander Provan, who edited the essay.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eRule and Levine trace the particularities of IAE to translations of French and German critical texts published in the 1970s in academic publications like\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eOctober\u003c\/em\u003e. The widespread use of the internet has, they argue, accelerated the development of IAE, turning it into a kind of lingua franca. The proliferation of international variations—French IAE, Scandinavian IAE, Chinese IAE—ends up diluting the authority of critics, “traditionally the elite innovators of IAE.” Given these developments, Rule and Levine ask: “Can we imagine an art world without IAE? Without its special language, would art need to submit to the scrutiny of broader audiences and local ones? Would it hold up?”\u003c\/p\u003e","brand":"Triple Canopy","offers":[{"title":"Default Title","offer_id":42828247433473,"sku":"","price":3.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0634\/7931\/6737\/products\/181106_iae_thumb_6c2ffac3-da79-4975-8a6c-75ab7b081786.png?v=1652212506"},{"product_id":"andy-warhol-the-series","title":"Andy Warhol: The Series by Hilton Als with Jennifer Krasinski","description":"\u003ch5 data-mce-fragment=\"1\"\u003e\n\u003cem data-mce-fragment=\"1\"\u003eAndy Warhol: The Series \u003cbr\u003e\u003c\/em\u003eby Hilton Als \u003cbr\u003e Introduction by Jennifer Krasinski \u003cbr\u003e Published by Triple Canopy, October 2017 \u003cbr\u003e Perfect-bound, 96 pp, 5\" × 7.5\" \u003cbr\u003e Offset printed\u003c\/h5\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eAndy Warhol: The Series\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003econtains two previously unpublished television scripts by the writer Hilton Als for a series on the life of Andy Warhol. Drawing on historical accounts, rumors, and artworks, Als interweaves Warhol’s childhood as the sickly youngest son of Ruthenian immigrants in Pittsburgh, the bustle and hysteria of the Factory’s heyday in New York, and fantasies inspired by the artist’s fixation on Hollywood. The episodes center on two women who greatly shaped Warhol’s life. The first is his doting, sensitive mother, Julia Warhola, who lived with her son in New York for two decades (and even played an aging star in Warhol’s film\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eMrs. Warhol\u003c\/em\u003e). The second is the “poor little rich girl” Shirley Temple, a childhood obsession whose signed headshot—“To Andrew Warhola”—cemented the budding artist’s preoccupation with celebrity. In these scripts, which were written in 2016 and 2017, Als is at the height of his powers, tenderly touching on themes of motherhood, faith, and fame.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eWith an\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003ca data-mce-fragment=\"1\" href=\"https:\/\/www.canopycanopycanopy.com\/contents\/another-mother-in-history\" data-mce-href=\"https:\/\/www.canopycanopycanopy.com\/contents\/another-mother-in-history\" target=\"_blank\"\u003eintroduction\u003c\/a\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eby Jennifer Krasinski.\u003c\/p\u003e","brand":"Triple Canopy","offers":[{"title":"Default Title","offer_id":42831242592513,"sku":"Andy-Warhol-book","price":15.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0634\/7931\/6737\/products\/110317_Hilton_Als_Andy_Warhol_1012x910_thumb_14f1018b-72cf-47e4-8b7c-ca9c080ee0e5.jpg?v=1652284053"},{"product_id":"the-amme-talks","title":"The Amme Talks by Ulf Stolterfoht with Peter Dittmer, Shane Anderson \u0026 Megan Ewing","description":"\u003cp data-mce-fragment=\"1\"\u003e\u003cem\u003e\u003c\/em\u003eDownload EPUB via \u003ca href=\"https:\/\/books.apple.com\/us\/book\/id1236948321\" target=\"_blank\"\u003eApple Books\u003c\/a\u003e ($6.99)\u003cbr\u003eDownload MOBI via \u003ca href=\"https:\/\/www.amazon.com\/dp\/B071S6716L\" target=\"_blank\"\u003eAmazon\u003c\/a\u003e ($6.99)\u003cbr\u003e\u003c\/p\u003e\n\u003ch5 data-mce-fragment=\"1\"\u003e\n\u003cem\u003eThe Amme Talks\u003cbr\u003e\u003c\/em\u003eby Ulf Stolterfoht, translated by Shane Anderson; \u003cbr\u003ewith an afterword by Peter Dittmer, translated by Megan Ewing\u003cbr data-mce-fragment=\"1\"\u003e Edited by Triple Canopy\u003cbr data-mce-fragment=\"1\"\u003e Print and eBook published August 2017\u003cbr data-mce-fragment=\"1\"\u003e Offset edition\u003cbr data-mce-fragment=\"1\"\u003e ISBN 978-0-9978524-4-8\u003cbr data-mce-fragment=\"1\"\u003e DRM-free EPUB 3.0\u003cbr data-mce-fragment=\"1\"\u003e ISBN 978-0-9978524-2-4\u003cbr data-mce-fragment=\"1\"\u003e DRM-free MOBI\u003cbr data-mce-fragment=\"1\"\u003e ISBN 978-0-9978524-3-1\u003c\/h5\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eThe Amme Talks\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eis a conversation between poet and machine. In 2003, poet Ulf Stolterfoht and a chatbot named Amme (which means “wet nurse” in German) met in Berlin. For one week, Stolterfoht interrogated Amme: not just a chatbot, actually, but a steel-and-glass construction with a computer interface, which is connected to a glass of milk, a robotic arm that tips over the glass, and a tube that releases water, as if urinating.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eStolterfoht asked Amme—the creation of artist Peter Dittmer—about the nature of authorship and the agency of language; he intended to turn the answers into an essay on poetics. While Amme replied to every question, Stolterfoht observed that the output was “highly self-reflexive, if not entirely self-referential,” and impossible for him to assimilate into his writing. He’d hoped to glean something from Amme’s performance of an idiosyncratic and mechanical form of human speech. Instead, he stumbled on a remarkable “second-order realism” in which words refer not to things but to themselves.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eIn the dialogue presented in this book, Stolterfoht glimpses something other than what we understand as poetry, something apart from “solipsistic exercises” with language, something like “endlessly liberated speech”—a potential revolution in poetry mounted by a milk-spilling chatbot.\u003c\/p\u003e","brand":"Triple Canopy","offers":[{"title":"Default Title","offer_id":42831257731329,"sku":"Amme","price":12.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0634\/7931\/6737\/products\/170306_amme_thumb_a313d82d-c9af-455d-a3be-167f68247073.png?v=1652284419"},{"product_id":"s-as-in-samsam","title":"S as in Samsam by Sowon Kwon","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003ch5 data-mce-fragment=\"1\"\u003e\n\u003cem\u003eS as in Samsam\u003c\/em\u003e \u003cbr\u003eby Sowon Kwon \u003cbr\u003e Edited by Triple Canopy \u003cbr\u003e Published by Secretary Press and Triple Canopy, May 2017 \u003cbr\u003e Perfect-bound with embossed cover, 60 pp, 6\" × 7\" \u003cbr\u003eOffset printed, full color throughout \u003cbr\u003e ISBN 978-0-9971206-2-2\u003c\/h5\u003e\n\u003cp data-mce-fragment=\"1\"\u003eSowon Kwon begins\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eS as in Samsam\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eby recounting her twentysomething cousin visiting New York City from South Korea. Having not seen the cousin since she was a girl with ribbons in her hair, Kwon wonders about the degree of formality with which to address her. She notes the importance, in Korean, of “establishing the correct amount of distance between you and another.” She goes on to ponder the coincidence of the homophony of the Korean slang term of respect and affection for\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eteacher\u003c\/em\u003e, Romanized as\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003esam\u003c\/em\u003e, and the diminutive of the name Samuel.\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eSam\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eseems to crystallize the traffic between formality and intimacy, and even the touching of disparate language families.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eIn pursuit of such interplay, prompted by viewings of operas and sitcoms, aided by search algorithms, Kwon creates a constellation of\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003esam\u003c\/em\u003es: Samuel L. Jackson merges with Uncle Sam, Sam Cooke mingles with Samson, Saruman spars with Toni Morrison. As she assembles images, Kwon reveals how authority and nationality are personified. At the same time, she remembers how authority was exercised by her own teachers, how they struck a balance between knowing and not knowing, how they illuminated “a way from information to meaning.”\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eKwon's episodic essay shuttles between memoir and wordplay, scrutiny of conventions of Korean speech and revelation in the coincidences of “I Dream of Jeannie” and\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eSalome\u003c\/em\u003e. Kwon, an artist, illustrates\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eS as in Samsam\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003ewith her own drawings as well as a bevy of found images. The book is an adaptation of an\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003ca data-mce-fragment=\"1\" href=\"https:\/\/www.canopycanopycanopy.com\/issues\/22\/contents\/s-as-in-samsam\" target=\"_blank\" data-mce-href=\"https:\/\/www.canopycanopycanopy.com\/issues\/22\/contents\/s-as-in-samsam\"\u003eessay\u003c\/a\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eby the same name, published online by Triple Canopy in 2016 as part of\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003ca data-mce-fragment=\"1\" href=\"https:\/\/www.canopycanopycanopy.com\/issues#22\" target=\"_blank\" data-mce-href=\"https:\/\/www.canopycanopycanopy.com\/issues#22\"\u003eStandard Evaluation Materials\u003c\/a\u003e, an issue devoted to harmonizing bodies, regulating speech, and fixing time.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" class=\"funders-credits\"\u003eSupport for\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eS as in Samsam\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003ehas been provided by Triple Canopy’s Publishers Circle.\u003c\/p\u003e","brand":"Triple Canopy","offers":[{"title":"Default Title","offer_id":42831294267649,"sku":"SasinSamsam","price":25.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0634\/7931\/6737\/products\/170403_samsam_book_thumb_8ef17209-a45a-4190-80e9-862c706f3aff.jpg?v=1652285120"},{"product_id":"headless","title":"Headless by K. D.","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003eDownload EPUB via \u003ca href=\"https:\/\/books.apple.com\/us\/book\/headless\/id1148581981\" target=\"_blank\" data-mce-href=\"https:\/\/books.apple.com\/us\/book\/headless\/id1148581981\"\u003eApple Books\u003c\/a\u003e ($9.99)\u003cbr\u003eDownload MOBI via \u003ca href=\"https:\/\/www.amazon.com\/dp\/B01L8VZGJO\" target=\"_blank\" rel=\"noopener noreferrer\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/books.apple.com\/us\/book\/headless\/id1148581981\"\u003eAmazon\u003c\/a\u003e ($9.99)\u003cbr\u003e\u003c\/p\u003e\n\u003ch5 data-mce-fragment=\"1\"\u003e\n\u003cem data-mce-fragment=\"1\"\u003eHeadless \u003c\/em\u003eby K. D. \u003cbr data-mce-fragment=\"1\"\u003e Edited by Triple Canopy \u003cbr data-mce-fragment=\"1\"\u003e Published by Triple Canopy, Sternberg Press, and Tensta Konsthall, March 2015 \u003cbr data-mce-fragment=\"1\"\u003e Paperback, 348 pp, 4.2\" × 7\" \u003cbr data-mce-fragment=\"1\"\u003e Designed by Franklin Vandiver and Johan Hjerpe Offset edition ISBN 978-3-95679-026-3\u003c\/h5\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eHeadless\u003c\/em\u003e, an exhilarating murder-mystery by the elusive K. D., probes the sordid secrets and sinister deeds of powerful financiers who use Caribbean firms to conceal their fortunes. The novel begins with workaday author John Barlow agreeing to ghostwrite a novel about secretive tax havens. Barlow assumes the job will be a no-brainer. But then his eccentric employers, Swedish conceptualist artist duo Goldin+Senneby, ask him to investigate Headless Ltd., a shadowy company with possible links to the French philosopher Georges Bataille, known for his obsession with human sacrifice. Barlow travels to Nassau, Bahamas, the glitzy mecca of offshore finance, and begins to uncover a byzantine plot. He soon realizes he is not alone. An enigmatic, ruthless woman is also seeking the truth about Headless—and, it seems, about Barlow. One day the ghostwriter is happily posting to his travel blog, the next he’s implicated in the decapitation of a police officer. Barlow becomes consumed by a dark world of covert capitalism and secret societies. The more he grasps at the threads of reason and common sense, the more madness threatens to engulf him.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eHeadless\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003ewas written in the course of seven years, during which time K. D. utilized actors, investigators, and hired hands to orchestrate events that advanced the novel’s plot. These real-world elements of the novel transpired or were presented as excerpts at readings, auctions, industry events, exhibitions, conferences, and London Zoo. “K. D. has created a masterwork of metaphysical detective fiction,” writes artist Dominique Gonzalez-Foerster. “\u003cem data-mce-fragment=\"1\"\u003eHeadless\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eis a coded, clandestine novel that nevertheless makes for breathless reading until the last page.” Joseph O’Neill, author of\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eThe Dog\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eand\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eNetherland\u003c\/em\u003e, calls\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eHeadless\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e“a mysterious and brilliant gesture of fictional investigation.”\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eTo read Alexander Provan’s introduction to\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eHeadless\u003c\/em\u003e, “Headless Commercial Thriller,” published in Triple Canopy’s eighteenth issue, click\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003ca href=\"http:\/\/canopycanopycanopy.com\/contents\/headless_commercial_thriller\" data-mce-fragment=\"1\" data-mce-href=\"http:\/\/canopycanopycanopy.com\/contents\/headless_commercial_thriller\"\u003ehere\u003c\/a\u003e.\u003c\/p\u003e","brand":"Triple Canopy","offers":[{"title":"Default Title","offer_id":42831332409601,"sku":"Headless","price":7.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0634\/7931\/6737\/products\/full_lores_triplecanopy_store_headless_2.jpg?v=1652285731"},{"product_id":"moved-to-do-the-same","title":"Moved to Do the Same, 2019 by Joan Jonas","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv class=\"material\"\u003e\n\u003ch5\u003eJoan Jonas\u003cbr\u003e \u003cem\u003eMoved to Do the Same\u003c\/em\u003e, 2019\u003cbr\u003e 4\" × 6\" prints\u003cbr\u003e A series of four semi-translucent layers on velum and two opaque black note cards Printed at Ugly Duckling Presse\u003cbr\u003e Published by Triple Canopy, with support from\u003cbr\u003e Yelena Ambartsumian (Origen), on the occasion of\u003cbr\u003e Triple Canopy’s 2019 benefit\u003c\/h5\u003e\n\u003c\/div\u003e\n\u003cp data-mce-fragment=\"1\"\u003eSince the late 1960s, Joan Jonas’s pioneering work across numerous mediums (video, drawing, performance, sound) and genres (biography, mythology, folklore) has animated countless intellectual and artistic experiments in mediation, improvisation, technology and narrative.\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eMoved to Do the Same\u003c\/em\u003e—created on the occasion of Triple Canopy’s 2019 benefit, which honored Jonas—is one such iterative experiment. Printed on four semi-translucent vellum sheets and two opaque black note cards, the unbound publication invites readers to encounter the cards as individual slides, pair them or stack them, hold them to the light, pin them up on a wall in different arrangements.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eMoved to Do the Same\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003efeatures stills from Jonas’s 1976 video work\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eDrawing Dante\u003c\/em\u003e, in which the artist uses drawing as a means of newly interpreting Dante Alighieri’s\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eDivine Comedy\u003c\/em\u003e. On a blackboard, she sketches what might be an atom, a solar system, a house, a dog, and subsequently smudges and erases the marks just made. Jonas later incorporated excerpts from\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eDrawing Dante\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003einto the performance series\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eReading Dante I–IV\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e(2007–2010), wherein Jonas performed in front of projections while she and other performers recited selections from the\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eDivine Comedy\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eInspired by\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eReading Dante\u003c\/em\u003e, Triple Canopy’s publication considers reading to be a generative space for play and for communion; for collective reflection, revision, obfuscation, and revelation. The publication includes one of Jonas’s favorite passages from the\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003ePurgatorio\u003c\/em\u003e, canto 2, 76–81. “I’ve heard it so many times,” she’s written, “but it still gets me”:\u003c\/p\u003e\n\u003cblockquote data-mce-fragment=\"1\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003eI saw one of them come forward\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003ewith such affection to embrace me\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003ethat I was moved to do the same.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eOh empty shades, except in seeing!\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThree times I clasped my hands behind him\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eonly to find them clasped to my own chest.\u003c\/p\u003e\n\u003c\/blockquote\u003e","brand":"Triple Canopy","offers":[{"title":"Default Title","offer_id":42831398830337,"sku":"","price":16.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0634\/7931\/6737\/products\/moved-to-do-the-same_individual.gif?v=1652288315"},{"product_id":"mirror-tote-after-joan-jonas-blue","title":"Mirror Tote, After Joan Jonas (blue)","description":"\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eA reflection on representation and a representation of reflection: This double-sided tote bag evokes Joan Jonas’s pioneering mirror performances—such as \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eMirror Piece I\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e (1969), \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eMirror Piece II\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e (1970) and \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eMirror Check\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e (1970)—and was created on the occasion of Triple Canopy’s 2019 benefit, which honored Jonas. It’s available in two colorways: blue-white, and \u003c\/span\u003e\u003ca href=\"https:\/\/www.canopycanopycanopy.com\/contents\/mirror-tote-after-joan-jonas-green\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.canopycanopycanopy.com\/contents\/mirror-tote-after-joan-jonas-green\" target=\"_blank\"\u003egreen-orange-peach\u003c\/a\u003e\u003cspan data-mce-fragment=\"1\"\u003e.\u003c\/span\u003e","brand":"Triple Canopy","offers":[{"title":"Default Title","offer_id":42831407218945,"sku":"MirrorToteBlue","price":20.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0634\/7931\/6737\/products\/SI_Mirror-Tote-After-Joan-Jonas_Blue.jpg?v=1652288828"},{"product_id":"mirror-tote-after-joan-jonas-green","title":"Mirror Tote, After Joan Jonas (green)","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003eA reflection on representation and a representation of reflection: This double-sided tote bag evokes Joan Jonas’s pioneering mirror performances—such as\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eMirror Piece I\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e(1969),\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eMirror Piece II\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e(1970) and\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eMirror Check\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e(1970)—and was created on the occasion of Triple Canopy’s 2019 benefit, which honored Jonas. It’s available in two colorways: green-orange-peach, and\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003ca href=\"https:\/\/www.canopycanopycanopy.com\/contents\/mirror-tote-after-joan-jonas-blue\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.canopycanopycanopy.com\/contents\/mirror-tote-after-joan-jonas-blue\" target=\"_blank\"\u003eblue-white\u003c\/a\u003e.\u003c\/p\u003e\n\u003cdiv class=\"alongslide panel show\" data-alongslide-id=\"store-image-1\" data-mce-fragment=\"1\"\u003e\n\u003cdiv class=\"contents\" data-mce-fragment=\"1\"\u003e\n\u003cdiv class=\"inner\" data-mce-fragment=\"1\"\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Triple Canopy","offers":[{"title":"Default Title","offer_id":42831411085569,"sku":"MirrorToteGreen","price":20.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0634\/7931\/6737\/products\/SI_Mirror-Tote-After-Joan-Jonas_Green.jpg?v=1652289002"},{"product_id":"bluet-130","title":"Bluet 130","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003eA tote bag produced on the occasion of Triple Canopy’s 2018 benefit, which honored Maggie Nelson, a writer whose work often fuses criticism, memoir, scholarship, and poetry. On one side, an entreaty to “read the darkness,” from Nelson’s\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eBluets\u003c\/em\u003e.\u003c\/p\u003e\n\u003cdiv class=\"alongslide panel show\" data-alongslide-id=\"store-image-2\" data-mce-fragment=\"1\"\u003e\n\u003cdiv class=\"contents\" data-mce-fragment=\"1\"\u003e\n\u003cdiv class=\"inner\" data-mce-fragment=\"1\"\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Triple Canopy","offers":[{"title":"Default Title","offer_id":42831415836929,"sku":"Bluets130tote","price":20.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0634\/7931\/6737\/products\/triplecanopy_store_bluets_tote_animated.gif?v=1652289284"},{"product_id":"not-dead-but-sleeping","title":"Not Dead But Sleeping by Anna Della Subin","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003eDownload EPUB via \u003ca href=\"https:\/\/books.apple.com\/us\/book\/id1094307614\" target=\"_blank\" rel=\"noopener noreferrer\" data-mce-href=\"https:\/\/books.apple.com\/us\/book\/headless\/id1148581981\" data-mce-fragment=\"1\"\u003eApple Books\u003c\/a\u003e ($6.99)\u003cbr data-mce-fragment=\"1\"\u003eDownload MOBI via \u003ca href=\"https:\/\/www.amazon.com\/gp\/product\/B01D3BGCMC\" target=\"_blank\" rel=\"noopener noreferrer\" data-mce-href=\"https:\/\/books.apple.com\/us\/book\/headless\/id1148581981\" data-mce-fragment=\"1\"\u003eAmazon\u003c\/a\u003e ($6.99)\u003c\/p\u003e\n\u003ch5 data-mce-fragment=\"1\"\u003e\n\u003cem\u003eNot Dead But Sleeping\u003cbr\u003e\u003c\/em\u003eby Anna Della Subin\u003cbr\u003e Edited by Triple Canopy\u003cbr\u003e Offset edition\u003cbr\u003e ISBN 978-0-9847346-9-6\u003cbr\u003e DRM-free EPUB 3.0\u003cbr\u003e ISBN 978-0-9847346-7-2\u003cbr\u003e DRM-free MOBI\u003cbr\u003e ISBN 978-0-9847346-8-9\u003c\/h5\u003e\n\u003cp data-mce-fragment=\"1\"\u003ePrompted by the 2011 Egyptian uprising, this book-length essay on the cultural politics of sleep by writer and editor Anna Della Subin takes as its starting point Tawfiq al-Hakim’s 1933 play\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eThe People of the Cave\u003c\/em\u003e. Based on the legend of the Seven Sleepers of Ephesus, which also appears in the Qur’an, the play tells the story of three Christian men and a dog who awaken in a cave after fleeing from persecution by their pagan king. Upon venturing out, the men discover that three hundred years have passed, and must come to terms with a transformed world. Though hailed in literary circles as a landmark in Egyptian drama, the play flopped with audiences, some of whom fell asleep.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003ePublished as part of Triple Canopy’s\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003ca href=\"https:\/\/canopycanopycanopy.com\/issues#21\" data-mce-href=\"https:\/\/canopycanopycanopy.com\/issues#21\" data-mce-fragment=\"1\"\u003eThe Long Tomorrow\u003c\/a\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eissue, Subin’s essay examines\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eThe People of the Cave\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eand the myth that inspired it, tracing the origins and incarnations of the sleepers, a story told and retold at moments of political awakening, from postrevolutionary America to contemporary Egypt.\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eNot Dead But Sleeping\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003econsiders the myth’s speculative uses and revolutionary potential, poetically pushing back against Martin Luther King Jr.’s famous dictum, “There is nothing more tragic than to sleep through a revolution.”\u003c\/p\u003e","brand":"Triple Canopy","offers":[{"title":"Default Title","offer_id":42831422128385,"sku":"NDBS","price":12.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0634\/7931\/6737\/products\/170306_ndbs_thumb_b335464d-df12-4fa3-a7c6-444bcb32ea73.png?v=1652289772"},{"product_id":"on-value","title":"On Value by Triple Canopy \u0026 Ralph Lemon","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003ch5 data-mce-fragment=\"1\"\u003e\n\u003cem data-mce-fragment=\"1\"\u003eOn Value Edited\u003c\/em\u003e \u003cbr\u003eby Triple Canopy and Ralph Lemon \u003cbr\u003e Published by Triple Canopy, November 2015 \u003cbr\u003e Perfect-bound, 276 pp, 4.17\" × 7\" \u003cbr\u003e Offset printed \u003cbr\u003e ISBN 978-0-9847346-6-5\u003cem data-mce-fragment=\"1\"\u003e \u003c\/em\u003e\n\u003c\/h5\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eOn Value\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eis a collaboration between Triple Canopy and choreographer and artist Ralph Lemon. The book is a multifarious conversation about the value of artworks and of the labor and bodies that make them, especially as defined by institutions with whom artists have often had fraught relationships. In essays, poems, interviews, and artworks, nineteen contributors consider the allure of artworks that, by nature, resist institutional parameters; how and why performers, choreographers, and dancers might go about making art institutions into proper venues, even caretakers, for their works; and how race figures into assessments of value. (\u003cem data-mce-fragment=\"1\"\u003eOn Value\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eis the culmination of the series\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003ca href=\"http:\/\/canopycanopycanopy.com\/series\/passage-of-a-rumor\" data-mce-fragment=\"1\" data-mce-href=\"http:\/\/canopycanopycanopy.com\/series\/passage-of-a-rumor\"\u003ePassage of a Rumor\u003c\/a\u003e, which began publication in August 2015 and includes digital versions of several of the projects in the book.)\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eOn Value\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eemerges from Value Talks, a series of private conversations organized by Lemon in 2013 and 2014 at the Museum of Modern Art in New York, in which he asked artists, writers, scholars, and curators to consider how and why we talk about the value and acquisition of ephemeral works of art. The book is an expanded record of these conversations, featuring works by\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003eKevin Beasley\u003c\/strong\u003e,\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003eClaire Bishop\u003c\/strong\u003e,\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003ePhilip Bither\u003c\/strong\u003e,\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003ePaula Court\u003c\/strong\u003e,\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003eAdrienne Edwards\u003c\/strong\u003e,\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003eTom Finkelpearl\u003c\/strong\u003e,\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003eAna Janevski\u003c\/strong\u003e,\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003eClaudia La Rocco\u003c\/strong\u003e,\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003eThomas J. Lax\u003c\/strong\u003e,\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003eRalph Lemon\u003c\/strong\u003e,\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003eGlenn Ligon\u003c\/strong\u003e,\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003eGlenn Lowry\u003c\/strong\u003e,\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003eSarah Michelson\u003c\/strong\u003e,\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003eFred Moten\u003c\/strong\u003e,\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003eAdam Pendleton\u003c\/strong\u003e,\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003eYvonne Rainer\u003c\/strong\u003e,\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003eWill Rawls\u003c\/strong\u003e,\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003eDavid Velasco\u003c\/strong\u003e, and\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003eNari Ward\u003c\/strong\u003e.\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eOn Value\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003enecessarily addresses the ephemeral nature of conversation itself: How might discussions that occur in private—about art, race, money, community, and power—be circulated without either compromising their intimacy or promising unmediated access? Rather than purport to exhaustively document or analyze these exchanges,\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eOn Value\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003ecirculates novel versions of lectures, readings, DJ sets, performances, rehearsals, and dialogues, and has provided an impetus for new artworks and writings commissioned in response.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eDistributed in North America by \u003c\/span\u003e\u003ca href=\"http:\/\/www.artbook.com\/9780984734627.html\" target=\"_blank\"\u003eARTBOOK | D.A.P.\u003c\/a\u003e\u003cspan\u003e Major support for \u003c\/span\u003e\u003cem\u003eOn Value\u003c\/em\u003e\u003cspan\u003e has been provided by MoMA’s Wallis Annenberg Fund for Innovation in Contemporary Art through the Annenberg Foundation. Support has also been provided by Bernard I. Lumpkin \u0026amp; Carmine D. Boccuzzi, as well as Darwin Brown, Casey Kaplan gallery, Alvin D. Hall, Marjory Jacobson, Julia Joern, Sam Miller, Lisa Naftolin \u0026amp; Jan Greben, Cory Nomura, Carole \u0026amp; Oliver Server, Sikkema Jenkins \u0026amp; Co., an anonymous donor, and Triple Canopy’s Publishers Circle.\u003c\/span\u003e\u003c\/p\u003e","brand":"Triple Canopy","offers":[{"title":"Default Title","offer_id":42831429697793,"sku":"OnValue1","price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0634\/7931\/6737\/products\/15092_ov_thumb_03097731-ab33-4775-b571-4247d2159db9.jpg?v=1652290032"},{"product_id":"speculations-the-future-is-______","title":"Speculations (“The future is ______”)","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003ch5 data-mce-fragment=\"1\"\u003e\n\u003cem\u003eSpeculations (“The future is ______”)\u003c\/em\u003e\u003cbr\u003e Edited by Triple Canopy\u003cbr\u003e Published by Triple Canopy, October 2015\u003cbr\u003e Perfect-bound, 336 pp, 4.25\" × 7\"\u003cbr\u003e One-color offset printed\u003cbr\u003e ISBN 978-0-9847346-5-8\u003c\/h5\u003e\n\u003cp data-mce-fragment=\"1\"\u003eIn the summer of 2013, Triple Canopy invited more than sixty writers, artists, scientists, activists, economists, and technologists to make bets on the future. Triple Canopy asked: Which future do you want to see realized? How precisely can you describe it? What demands might this future make on the present? These speculations were to be optimistic, even if that optimism were skeptical or dark. They were presented as\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003ca href=\"http:\/\/canopycanopycanopy.com\/contents\/speculations-the-future-is-___________\" data-mce-fragment=\"1\" data-mce-href=\"http:\/\/canopycanopycanopy.com\/contents\/speculations-the-future-is-___________\"\u003e\u003cem data-mce-fragment=\"1\"\u003eSpeculations (“The future is ______”)\u003c\/em\u003e\u003c\/a\u003e, a fifty-day series of lectures, discussions, and debates at MoMA PS1, Triple Canopy’s contribution to the exhibition “\u003ca href=\"http:\/\/www.momaps1.org\/expo1\/\" data-mce-fragment=\"1\" data-mce-href=\"http:\/\/www.momaps1.org\/expo1\/\" target=\"_blank\"\u003eEXPO 1\u003c\/a\u003e.” In subsequent months, Triple Canopy continued the speculations by way of public conversations about climate change and inequality, geoengineering, and the way in which we conceive of and represent nature.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThis book, a lexicon of central terms of\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eSpeculations\u003c\/em\u003e, is meant to convey the relationship between ideation and action, in order to suggest viable approaches not just to interpreting the world but to changing it. Triple Canopy considers economic interventions (“guaranteed basic income”), political abstractions (“reform or revolution,” “prometheanism”), figments of the imagination (“interplanetary colonization”), emerging technologies (“enhancement”), and useful neologisms (“hedge-fund utilitarians”). Each of the more than sixty entries consists of edited excerpts from speculations made by, among others,\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003eFatima Al Qadiri\u003c\/strong\u003e,\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003eDavid Auerbach\u003c\/strong\u003e,\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003eGopal Balakrishnan\u003c\/strong\u003e,\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003eRay Brassier\u003c\/strong\u003e,\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003eHolly Jean Buck\u003c\/strong\u003e,\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003eTed Chiang\u003c\/strong\u003e,\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003eJace Clayton\u003c\/strong\u003e,\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003eCA Conrad\u003c\/strong\u003e,\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003eJohn Crowley\u003c\/strong\u003e,\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003eSamuel Delany\u003c\/strong\u003e,\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003eEsther Dyson\u003c\/strong\u003e,\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003eSilvia Federici\u003c\/strong\u003e,\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003eRivka Galchen\u003c\/strong\u003e,\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003eDavid Graeber\u003c\/strong\u003e,\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003eN. Katherine Hayles\u003c\/strong\u003e,\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003eKatie Kitamura\u003c\/strong\u003e,\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003eJosh Kline\u003c\/strong\u003e,\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003eBenjamin Kunkel\u003c\/strong\u003e,\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003eRachel Kushner\u003c\/strong\u003e,\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003eLynn Hershman Leeson\u003c\/strong\u003e,\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003eMary Mattingly\u003c\/strong\u003e,\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003eNaeem Mohaiemen\u003c\/strong\u003e,\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003eEvgeny Morozov\u003c\/strong\u003e,\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003eHương Ngô\u003c\/strong\u003e,\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003eTrevor Paglen\u003c\/strong\u003e,\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003eAshwin Parameswaran\u003c\/strong\u003e,\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003eChristian Parenti\u003c\/strong\u003e,\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003eLaura Poitras\u003c\/strong\u003e,\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003eSrikanth Reddy\u003c\/strong\u003e,\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003eDavid Rieff\u003c\/strong\u003e,\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003eKim Stanley Robinson\u003c\/strong\u003e,\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003eNorman Rush\u003c\/strong\u003e,\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003eSukhdev Sandhu\u003c\/strong\u003e,\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003eEdward Snowden\u003c\/strong\u003e,\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003eAstra Taylor\u003c\/strong\u003e,\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003eMierle Laderman Ukeles\u003c\/strong\u003e, and\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003eKathi Weeks\u003c\/strong\u003e. The book includes new artwork by\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003eJosé Léon Cerillo\u003c\/strong\u003e, who created the structure that housed\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eSpeculations\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eat MoMA PS1.\u003c\/p\u003e\n\u003cp class=\"funders-credits\" data-mce-fragment=\"1\"\u003eDistributed in North America by\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003ca href=\"http:\/\/www.artbook.com\/9780984734627.html\" data-mce-fragment=\"1\" data-mce-href=\"http:\/\/www.artbook.com\/9780984734627.html\" target=\"_blank\"\u003eARTBOOK | D.A.P.\u003c\/a\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eMajor support for\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eSpeculations (“The future is ______”)\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003ehas been provided by MoMA PS1, the Truckin’ Foundation, Robert Rauschenberg Foundation, and Triple Canopy’s Publishers Circle.\u003c\/p\u003e","brand":"Triple Canopy","offers":[{"title":"Default Title","offer_id":42831435366657,"sku":"SPEC1","price":20.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0634\/7931\/6737\/products\/150902_speculations_cover-hires.jpg?v=1652290228"},{"product_id":"invalid-format-an-anthology-of-triple-canopy-volume-1","title":"Invalid Format: An Anthology of Triple Canopy, Volume 1","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003ch5 data-mce-fragment=\"1\"\u003e\n\u003cem data-mce-fragment=\"1\"\u003eInvalid Format: An Anthology of Triple Canopy, Volume 1\u003cbr\u003e \u003c\/em\u003ePublished January 2012\u003cbr\u003e Perfect-bound, 336 pp, 6\" × 9\"\u003cbr\u003e Black-and-white, gatefold cover\u003cbr\u003e Design concept by Project Projects\u003cbr\u003e Layout and typesetting by Project Projects with Alex Lesy and Triple Canopy\u003cbr\u003e ISBN 978-0-9847346-0-3\u003c\/h5\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eInvalid Format: An Anthology of Triple Canopy\u003c\/em\u003e, designed in collaboration with\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003ca href=\"http:\/\/projectprojects.com\/invalid-format-an-anthology-of-triple-canopy\/\" data-mce-fragment=\"1\" data-mce-href=\"http:\/\/projectprojects.com\/invalid-format-an-anthology-of-triple-canopy\/\" target=\"_blank\"\u003eProject Projects\u003c\/a\u003e, is at once an archive of Triple Canopy’s widespread publishing activities and a translation into print of projects that originally appeared in other forms. The design of\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eInvalid Format\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003ereflects this problem: How might works produced for the screen be transposed to the codex in a way that recalls that former context, though not slavishly, and while also fully inhabiting the page? How can the form and function of interactive, audiovisual works be degraded elegantly, without disappearing entirely, in print?\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eInvalid Format\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003ewill be published at least annually and is available at select bookshops worldwide.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe initial volume of\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eInvalid Format\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eincludes artist projects and literary work published in the first year of Triple Canopy’s existence, documentation of public programs, and a sampling of foundational correspondence. Contributors include Lene Berg, Joseph Clarke, Rivka Galchen, Adam Helms, Sheila Heti, Dan Hoy, the International Necronautical Society, Craig Kalpakjian, Jon Kessler, Wayne Koestenbaum, Rachel Mason, Amir Mogharabi, Rachel Owens, Ed Park \u0026amp; Rachel Aviv, the Poetic Research Bureau, John Powers, Emily Richardson \u0026amp; Iain Sinclair, Michael Robinson, and Diane Williams.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eDistributed in North America by\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003ca href=\"http:\/\/www.artbook.com\/9780984734603.html\" data-mce-fragment=\"1\" data-mce-href=\"http:\/\/www.artbook.com\/9780984734603.html\" target=\"_blank\"\u003eARTBOOK | D.A.P.\u003c\/a\u003e, New York, and in Europe by\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003ca href=\"http:\/\/www.mottodistribution.com\/shop\/invalid-format-an-anthology-of-triple-canopy-volume-1.html\" data-mce-fragment=\"1\" data-mce-href=\"http:\/\/www.mottodistribution.com\/shop\/invalid-format-an-anthology-of-triple-canopy-volume-1.html\" target=\"_blank\"\u003eMotto Distribution\u003c\/a\u003e, Berlin.\u003c\/p\u003e","brand":"Triple Canopy","offers":[{"title":"Default Title","offer_id":42831439331585,"sku":"","price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0634\/7931\/6737\/products\/triplecanopy_store_invalid_format_v1.png?v=1652290448"},{"product_id":"invalid-format-an-anthology-of-triple-canopy-volume-2","title":"Invalid Format: An Anthology of Triple Canopy, Volume 2","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003ch5 data-mce-fragment=\"1\"\u003e\n\u003cem data-mce-fragment=\"1\"\u003eInvalid Format: An Anthology of Triple Canopy, Volume 2\u003cbr\u003e \u003c\/em\u003ePublished September 2012\u003cbr\u003e Perfect-bound, 336 pp, 6\" × 9\"\u003cbr\u003e Blue and black, gatefold cover\u003cbr\u003e Design concept by Project Projects\u003cbr\u003e Layout and typesetting by Project Projects with Alex Lesy and Triple Canopy\u003cbr\u003e ISBN 978-3-943365-35-1\u003c\/h5\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eInvalid Format: An Anthology of Triple Canopy\u003c\/em\u003e, designed in collaboration with\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003ca href=\"http:\/\/projectprojects.com\/invalid-format-an-anthology-of-triple-canopy\/?view=thumb\" data-mce-fragment=\"1\" data-mce-href=\"http:\/\/projectprojects.com\/invalid-format-an-anthology-of-triple-canopy\/?view=thumb\" target=\"_blank\"\u003eProject Projects\u003c\/a\u003e, is at once an archive of Triple Canopy’s widespread publishing activities and a translation into print of projects that originally appeared in other forms. The design of\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eInvalid Format\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003ereflects this problem: How might works produced for the screen be transposed to the codex in a way that recalls that former context, though not slavishly, and while also fully inhabiting the page? How can the form and function of interactive, audiovisual works be degraded elegantly, without disappearing entirely, in print?\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eInvalid Format\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003ewill be published at least annually and is available at select bookshops worldwide.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe second volume of\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eInvalid Format\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eincludes artist projects and literary work published from early 2009 through mid-2010, documentation of public programs, and a sampling of foundational correspondence. Contributors include Sophia Al-Maria, Bidisha Banerjee, Gil Blank, José León Cerrillo, Joseph Clarke, Joshua Cohen, Teddy Cruz, Ed Halter, Lucy Ives, Victoria Miguel, Joe Milutis, New Humans, Hassan Khan \u0026amp; Clare Davies, Karthik Pandian, Lucy Raven, Luc Sante, Nathan Schneider, Molly Springfield, Ben Street \u0026amp; the International Necronautical Society, Dan Torop, and Zs \u0026amp; Josh Slater.\u003c\/p\u003e\n\u003cp class=\"funders-credits\" data-mce-fragment=\"1\"\u003eDistributed in North America by\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003ca href=\"http:\/\/www.rampub.com\/\" data-mce-fragment=\"1\" data-mce-href=\"http:\/\/www.rampub.com\/\" target=\"_blank\"\u003eRAM Publications\u003c\/a\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eand in Europe via\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eInvalid Format\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eco-publisher\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003ca href=\"http:\/\/www.sternberg-press.com\/\" data-mce-fragment=\"1\" data-mce-href=\"http:\/\/www.sternberg-press.com\/\" target=\"_blank\"\u003eSternberg Press\u003c\/a\u003e. Major support for\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eInvalid Format\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003ehas been provided by Furthermore: a program of the J.M. Kaplan Fund as well as Triple Canopy's Publishers Circle.\u003c\/p\u003e","brand":"Triple Canopy","offers":[{"title":"Default Title","offer_id":42831443230977,"sku":"IFv2","price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0634\/7931\/6737\/products\/IFv2-store-in_line.jpg?v=1652290653"},{"product_id":"invalid-format-an-anthology-of-triple-canopy-volume-3","title":"Invalid Format: An Anthology of Triple Canopy, Volume 3","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003ch5 data-mce-fragment=\"1\"\u003e\n\u003cem\u003eInvalid Format: An Anthology of Triple Canopy, Volume 3\u003c\/em\u003e\u003cbr\u003e Published by Triple Canopy, January 2014\u003cbr\u003e Perfect-bound, 304 pp, 6\" × 9\"\u003cbr\u003e Yellow and black, gatefold cover\u003cbr\u003e Design concept by Project Projects\u003cbr\u003e Layout and typesetting by Project Projects with Alex Lesy and Triple Canopy\u003cbr\u003e ISBN 978-0-9847346-3-4\u003c\/h5\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe latest, third volume of\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eInvalid Format\u003c\/em\u003e, our ongoing Web-to-print experiment, features work by Michael Almereyda, Kurt Beals, Mel Bochner, Daniel Bozhkov, Paul Chan, Joshua Cohen, Jordan Crandall, Simon Critchley, Moyra Davey, Roe Ethridge, Ellie Ga, Daniel Gordon, Vivian Gornick, David Graeber, Group Theory, Per-Oskar Leu, Joseph McElroy, Tom McCarthy, Matt Mullican, Ken Okiishi, Boru O'Brien O'Connell \u0026amp; Justin Lieberman, Matthew Porter, Torbjørn Rødland, Julia Sherman, Erin Shirreff, Bob Stein, Eve Sussman, Lynne Tillman, Dan Torop, Anja Utler, Mary Walling Blackburn, and McKenzie Wark, among others. Designed by Project Projects,\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eInvalid Format\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003egathers artist projects and literary work published in the third and fourth years of Triple Canopy’s existence, documentation of public programs, and correspondence related to the founding of our first venue, 177 Livingston Street.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eDistributed in North America by\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003ca href=\"http:\/\/www.artbook.com\/\" data-mce-fragment=\"1\" data-mce-href=\"http:\/\/www.artbook.com\/\" target=\"_blank\"\u003eARTBOOK | D.A.P.\u003c\/a\u003e, New York, and in Europe by\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003ca href=\"http:\/\/antennebooks.com\/\" data-mce-fragment=\"1\" data-mce-href=\"http:\/\/antennebooks.com\/\" target=\"_blank\"\u003eAntenne Books\u003c\/a\u003e, London, UK.\u003c\/p\u003e","brand":"Triple Canopy","offers":[{"title":"Default Title","offer_id":42831444836609,"sku":"IFv3","price":20.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0634\/7931\/6737\/products\/triplecanopy_store_invalid_format_v3.png?v=1652290746"},{"product_id":"corrected-slogans-reading-and-writing-conceptualism","title":"Corrected Slogans: Reading and Writing Conceptualism","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003ch5 data-mce-fragment=\"1\"\u003e\n\u003cem data-mce-fragment=\"1\"\u003eCorrected Slogans: Reading and Writing Conceptualism\u003cbr\u003e \u003c\/em\u003eEdited by Triple Canopy\u003cbr\u003e Published by Triple Canopy and MCA Denver, January 2013\u003cbr\u003e Second printing, April 2015\u003cbr\u003e Perfect-bound, 268 pp, 4.5\" × 7.5\"\u003cbr\u003e Black-and-white with one spot color\u003cbr\u003e Designed by Franklin Vandiver\u003cbr\u003e ISBN 978-0-9847346-2-7\u003c\/h5\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eCorrected Slogans\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003erepresents a vital discourse on conceptual practices in contemporary art and poetry. The book is the fourth and final installment of the multi-part project\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003ca href=\"http:\/\/canopycanopycanopy.com\/updates\/224\" data-mce-fragment=\"1\" data-mce-href=\"http:\/\/canopycanopycanopy.com\/updates\/224\"\u003e\u003cem data-mce-fragment=\"1\"\u003eCorrected Slogans (A Publication in Four Acts)\u003c\/em\u003e\u003c\/a\u003e, which was conceived as Triple Canopy’s contribution to “Postscript: Writing after Conceptual Art,” an exhibition organized by the\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003ca href=\"http:\/\/www.mcadenver.org\/postscript.php\" data-mce-fragment=\"1\" data-mce-href=\"http:\/\/www.mcadenver.org\/postscript.php\" target=\"_blank\"\u003eMuseum of Contemporary Art Denver\u003c\/a\u003e. As part of that project, Triple Canopy organized a series of public discussions, published a special\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003ca href=\"http:\/\/canopycanopycanopy.com\/private_issue\/corrected_slogans\" data-mce-fragment=\"1\" data-mce-href=\"http:\/\/canopycanopycanopy.com\/private_issue\/corrected_slogans\"\u003eonline issue\u003c\/a\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eof the magazine, and affixed QR codes to the walls of the galleries at the MCA. Each “act” of\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eCorrected Slogans\u003c\/em\u003e—dispersed as they are between Triple Canopy’s home in Brooklyn, the exhibition in Denver, the Web, and print—is integral to the same dynamic process; the project as a whole represents Triple Canopy’s ongoing attempt to define an expanded field of publication.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eCorrected Slogans\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003efeatures annotated transcripts of public conversations between some of the most innovative artists and poets working today. The symposium “Poems for America” asked how conceptual strategies of writing have transformed conventional notions of expression. “Automatic Reading,” a seminar-style roundtable, focused on reading as a creative practice, and the book as a material object and social signifier. Additionally, the book includes new essays, artworks, and poetry by\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003eNora Abrams\u003c\/strong\u003e,\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003eAndrea Andersson\u003c\/strong\u003e,\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003eErica Baum\u003c\/strong\u003e,\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003eFranklin Bruno\u003c\/strong\u003e,\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003eCorina Copp\u003c\/strong\u003e,\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003eMichael Corris\u003c\/strong\u003e,\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003eBrian Droitcour\u003c\/strong\u003e,\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003eJim Fletcher\u003c\/strong\u003e,\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003eZachary German\u003c\/strong\u003e,\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003eLucy Ives\u003c\/strong\u003e,\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003eAaron Kunin\u003c\/strong\u003e,\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003eMargaret Lee\u003c\/strong\u003e,\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003ePaul Legault\u003c\/strong\u003e,\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003eK. Silem Mohammad\u003c\/strong\u003e,\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003eKen Okiishi\u003c\/strong\u003e,\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003eR. H. Quaytman\u003c\/strong\u003e,\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003eKatie Raissian\u003c\/strong\u003e,\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003eAriana Reines\u003c\/strong\u003e,\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003eWilliam S. Smith\u003c\/strong\u003e,\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003eMónica de la Torre\u003c\/strong\u003e,\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003eGretchen Wagner\u003c\/strong\u003e,\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003eHannah Whitaker\u003c\/strong\u003e, and\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003eMatvei Yankelevich\u003c\/strong\u003e. More than merely documenting discussions,\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eCorrected Slogans\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eactivates the book as a site of creative production, enacting an expanded notion of publishing as a mode of critical inquiry.\u003c\/p\u003e\n\u003cp class=\"funders-credits\" data-mce-fragment=\"1\"\u003eDistributed in North America by\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003ca href=\"http:\/\/www.artbook.com\/9780984734627.html\" data-mce-fragment=\"1\" data-mce-href=\"http:\/\/www.artbook.com\/9780984734627.html\" target=\"_blank\"\u003eARTBOOK | D.A.P.\u003c\/a\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eMajor support for\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eCorrected Slogans\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003ehas been provided by the Museum of Contemporary Art Denver, the Orphiflamme Foundation, and Triple Canopy’s Publishers Circle.\u003c\/p\u003e","brand":"Triple Canopy","offers":[{"title":"Default Title","offer_id":42831446049025,"sku":"CS","price":15.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0634\/7931\/6737\/products\/triplecanopy_store_corrected_slogans_book-green.jpg?v=1652290831"},{"product_id":"the-binder-and-the-server","title":"The Binder and the Server","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003ch5 data-mce-fragment=\"1\"\u003e\n\u003cem\u003eThe Binder and the Server\u003c\/em\u003e\u003cbr\u003e Published March 2012\u003cbr\u003e Perfect-bound, 70 pp,\u003cbr\u003e 4.25\" × 6.88\"\u003cbr\u003e Black-and-white\u003cbr\u003e Designed by Franklin Vandiver\u003cbr\u003e ISBN 978-0-9847346-1-0\u003cbr\u003e\n\u003c\/h5\u003e\n\u003cp data-mce-fragment=\"1\"\u003eWe’re pleased to announce the publication of\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eThe Binder and the Server\u003c\/em\u003e, an expanded and illustrated paperback version of the essay by the same name, which originally appeared in the winter 2011 issue of\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003ca href=\"http:\/\/artjournal.collegeart.org\/?p=2644\" data-mce-fragment=\"1\" data-mce-href=\"http:\/\/artjournal.collegeart.org\/?p=2644\" target=\"_blank\"\u003e\u003cem data-mce-fragment=\"1\"\u003eArt Journal\u003c\/em\u003e\u003c\/a\u003e.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eThe Binder and the Server\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eis the outcome of several group discussions among Triple Canopy editors, and was written by senior editor Colby Chamberlain. The essay details the history of Triple Canopy in order to stake out our position on the ideology of Internet culture. By carefully examining the history of new-media publishing and the shift from disciplinary to control societies, the essay addresses the politics of online identity, friendship, labor, and the dream of digital democracy. In short:\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eOn the Internet, we are all contractors\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThis pocket-sized edition of\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eThe Binder and the Server\u003c\/em\u003e, designed by\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003ca href=\"http:\/\/www.franklinvandiver.com\/\" data-mce-fragment=\"1\" data-mce-href=\"http:\/\/www.franklinvandiver.com\/\" target=\"_blank\"\u003eFranklin Vandiver\u003c\/a\u003e, draws on experimental paperbacks of the 1960s, chief among them the collaborations of Marshall McLuhan and graphic designer Quentin Fiore. The book is characterized by cinematic layouts that merge text, typography, illustration, photography, and original artwork by Josh Kline and Dan Torop.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eThe Binder and the Server\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eexpanded paperback was published with generous support from\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003ca href=\"http:\/\/www.franklinstreetworks.org\/\" data-mce-fragment=\"1\" data-mce-href=\"http:\/\/www.franklinstreetworks.org\/\" target=\"_blank\"\u003eFranklin Street Works Press\u003c\/a\u003e. In March, at the annual College Art Association conference, “The Binder and the Server” received the\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003ca href=\"http:\/\/www.collegeart.org\/awards\/artjournalpast\" data-mce-fragment=\"1\" data-mce-href=\"http:\/\/www.collegeart.org\/awards\/artjournalpast\" target=\"_blank\"\u003eArt Journal Award\u003c\/a\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003efor the most distinguished contribution to the journal in the past year.\u003c\/p\u003e","brand":"Triple Canopy","offers":[{"title":"Default Title","offer_id":42831449096449,"sku":"TBTS","price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0634\/7931\/6737\/products\/triplecanopy_store_binderandserver.png?v=1652290977"},{"product_id":"two-particular-figures","title":"Two Particular Figures","description":"\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eA tote bag created in response to the literary portraiture of Hilton Als and on the occasion of Triple Canopy’s 2017 benefit, which honored him. On one side is a pattern of interwoven lines that suggests safety and security of the kind offered by a mother or a fence. On the other side is a spiral that charts a path from the periphery to the center, and reflects a desire to move from the outside to the inside. Specifically, the tote reflects on Julia Warhola and Shirley Temple, two of the protagonists of Als’s \u003c\/span\u003e\u003ca href=\"https:\/\/www.canopycanopycanopy.com\/contents\/andy-warhol-the-series\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.canopycanopycanopy.com\/contents\/andy-warhol-the-series\" target=\"_blank\"\u003e\u003cem data-mce-fragment=\"1\"\u003eAndy Warhol: The Series\u003c\/em\u003e\u003c\/a\u003e\u003cspan data-mce-fragment=\"1\"\u003e, published by Triple Canopy.\u003c\/span\u003e","brand":"Triple Canopy","offers":[{"title":"Default Title","offer_id":42831452995841,"sku":"AndyWarholTote","price":20.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0634\/7931\/6737\/products\/180213_warhol_tote.gif?v=1652291272"},{"product_id":"not-nothing","title":"Not Nothing","description":"\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThe original Triple Canopy tote bag. \u003c\/span\u003e","brand":"Triple Canopy","offers":[{"title":"Default Title","offer_id":42831457124609,"sku":"","price":20.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0634\/7931\/6737\/products\/not_nothing.jpg?v=1652291405"},{"product_id":"the-medium-was-tedium","title":"The Medium Was Tedium","description":"\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eA tote named after the first issue of Triple Canopy.\u003c\/span\u003e","brand":"Triple Canopy","offers":[{"title":"Default Title","offer_id":42831460860161,"sku":"","price":20.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0634\/7931\/6737\/products\/medium_tedium.jpg?v=1652291504"},{"product_id":"seven-translucent-tiers","title":"Seven Translucent Tiers","description":"\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eA tote bag designed by Adam Helms (after Mel Bochner).\u003c\/span\u003e","brand":"Triple Canopy","offers":[{"title":"Default Title","offer_id":42831463645441,"sku":"","price":20.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0634\/7931\/6737\/products\/seven_tote.jpg?v=1652291581"},{"product_id":"jf-son-grid","title":"JF \u0026 Son Grid","description":"\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eDesigned after \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eInvalid Format: An Anthology of Triple Canopy, Volume 1\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e for \u003c\/span\u003e\u003ca href=\"http:\/\/canopycanopycanopy.com\/programs\/46\" data-mce-fragment=\"1\" data-mce-href=\"http:\/\/canopycanopycanopy.com\/programs\/46\"\u003eThe Future Has Two Faces\u003c\/a\u003e\u003cspan data-mce-fragment=\"1\"\u003e, a benefit for Triple Canopy, October 28, 2011.\u003c\/span\u003e","brand":"Triple Canopy","offers":[{"title":"Default Title","offer_id":42831465873665,"sku":"","price":20.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0634\/7931\/6737\/products\/jfson_tote.jpg?v=1652291647"},{"product_id":"a-compact-history-of-digital-utopianism-from-bucky-to-steve","title":"A Compact History of Digital Utopianism, from Bucky to Steve","description":"\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eOur tote that wryly comments on the rise of the Californian Ideology (and\/or the phenomenon of Justin Bieber streaming directly to your smart phone). Created on the occasion of \u003c\/span\u003e\u003ca href=\"https:\/\/www.canopycanopycanopy.com\/programs\/69\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.canopycanopycanopy.com\/programs\/69\" target=\"_self\"\u003eCorrected Slogans*\u003c\/a\u003e\u003cspan data-mce-fragment=\"1\"\u003e, a benefit for Triple Canopy, October 25, 2012.\u003c\/span\u003e","brand":"Triple Canopy","offers":[{"title":"Default Title","offer_id":42831468855553,"sku":"","price":20.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0634\/7931\/6737\/products\/triplecanopy_store_404_tote.png?v=1652291728"},{"product_id":"i-write-for-myself-and-strangers-gertrude-stein","title":"I Write for Myself and Strangers (Gertrude Stein)","description":"\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThis tote pays homage to Gertrude Stein’s enormously long and allegedly unreadable novel \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eThe Making of Americans\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e.\u003c\/span\u003e","brand":"Triple Canopy","offers":[{"title":"Default Title","offer_id":42831473836289,"sku":"","price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0634\/7931\/6737\/products\/triplecanopy_store_strangers_tote.png?v=1652291802"},{"product_id":"dark-optimism-bright-pessimism","title":"Dark Optimism\/Bright Pessimism","description":"\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eWhat’s your attitude toward the future? Our new, double-sided tote allows you to toggle between worldviews; it’s printed with a typeface designed by Triple Canopy for \u003c\/span\u003e\u003ca href=\"https:\/\/canopycanopycanopy.com\/issues\/21\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/canopycanopycanopy.com\/issues\/21\"\u003ethe Long Tomorrow\u003c\/a\u003e\u003cspan data-mce-fragment=\"1\"\u003e issue.\u003c\/span\u003e","brand":"Triple Canopy","offers":[{"title":"Default Title","offer_id":42831479013633,"sku":"DarkOptimismTote","price":20.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0634\/7931\/6737\/products\/triplecanopy_store_speculations_tote_anim.gif?v=1652291878"},{"product_id":"frequencies","title":"Frequencies","description":"\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eLissajous curve, graph of harmonic motion. Glenn Ligon on Ralph Ellison in \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003e\u003ca href=\"https:\/\/canopycanopycanopy.com\/contents\/on-value\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/canopycanopycanopy.com\/contents\/on-value\"\u003eOn Value\u003c\/a\u003e\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e: “Who knows but that, on the lower frequencies, I speak for you?” You'll receive one of two designs, each is double-sided.\u003c\/span\u003e","brand":"Triple Canopy","offers":[{"title":"Default Title","offer_id":42831482847489,"sku":"FrequenciesTote","price":20.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0634\/7931\/6737\/products\/triplecanopy_store_frequencies_tote_anim.gif?v=1652291954"},{"product_id":"earthquake-red","title":"Earthquake (red)","description":"\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eCollective thought brought into color. Julie Ault and Martin Beck’s collaboration continues their experiments in the presentation of knowledge. Using colors taken from the sunset at the San Andreas fault line in the Mojave Desert, this tote bag materializes our anxiety about earthquakes. The tote was created on the occasion of Triple Canopy’s 2016 benefit, which honored Ault, and comes in two color combinations: red-orange and \u003c\/span\u003e\u003ca href=\"https:\/\/www.canopycanopycanopy.com\/contents\/earthquake-red\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.canopycanopycanopy.com\/contents\/earthquake-red\" target=\"_blank\"\u003eblue-purple\u003c\/a\u003e\u003cspan data-mce-fragment=\"1\"\u003e.\u003c\/span\u003e","brand":"Triple Canopy","offers":[{"title":"Default Title","offer_id":42831486222593,"sku":"EQRO","price":20.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0634\/7931\/6737\/products\/triplecanopy_store_julie_ault_tote_red_anim.gif?v=1652292029"},{"product_id":"earthquake-blue","title":"Earthquake (blue)","description":"\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eCollective thought brought into color. Julie Ault and Martin Beck’s collaboration continues their experiments in the presentation of knowledge. Using colors taken from the sunset at the San Andreas fault line in the Mojave Desert, this tote bag materializes our anxiety about earthquakes. The tote was created on the occasion of Triple Canopy’s 2016 benefit, which honored Ault, and comes in two color combinations: blue-purple, and \u003c\/span\u003e\u003ca href=\"https:\/\/www.canopycanopycanopy.com\/contents\/earthquake-red\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.canopycanopycanopy.com\/contents\/earthquake-red\" target=\"_blank\"\u003ered-orange\u003c\/a\u003e\u003cspan data-mce-fragment=\"1\"\u003e.\u003c\/span\u003e","brand":"Triple Canopy","offers":[{"title":"Default Title","offer_id":42831491825921,"sku":"EQBP","price":20.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0634\/7931\/6737\/products\/triplecanopy_store_julie_ault_tote_blue_anim.gif?v=1652292144"},{"product_id":"prototype-for-typographic-primer","title":"Prototype for Typographic Primer, 2021 by Christopher Williams","description":"\u003cp\u003e \u003c\/p\u003e\n\u003ch5\u003eChristopher Williams\u003cbr\u003e\u003cem\u003ePrototype for Typographic Primer\u003c\/em\u003e, 2021\u003cbr\u003eStationery Les Trois Rois, Schöllerhammer 4G, 80g Office Basik Multifunktionpapier, 80g Schöllerhammer Glama Microdraft Hochtransparent, staple\u003cbr\u003e5 ¾\" × 4 ⅛\"\u003cbr\u003eEdition of ten with four artist’s proofs\u003cbr\u003eInscribed recto; signed and dated verso\u003cbr\u003ePublished on the occasion of Triple Canopy’s 2020 benefit\u003cbr\u003eCourtesy of the artist and David Zwirner Gallery\u003c\/h5\u003e\n\u003ch5\u003eFor more information, please write to \u003ca href=\"mailto:development@canopycanopycanopy.com\" target=\"_blank\"\u003ecesia@\u003cwbr\u003ecanopycanopycanopy.com\u003c\/wbr\u003e\u003c\/a\u003e.\u003c\/h5\u003e\n\u003cp\u003e\u003cem\u003ePrototype for Typographic Primer\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eextends the artist Christopher Williams’s career-long investigation into the structures and ideologies embedded in everyday images and objects. The work for Triple Canopy is, as the title suggests, a primer on typographic theory and history as well as a collage, concrete poem, and critique of political and economic systems.\u003c\/p\u003e\n\u003cp\u003eWhile best known for photographs that precisely map the formal conventions and hypercapitalist imperatives of commercial photography, Williams has also been creating collages since the 1980s. In\u003cspan\u003e \u003c\/span\u003e\u003cem\u003ePrototype for Typographic Primer\u003c\/em\u003e, simple, commonplace elements—hotel stationery and a typeface sample—are stapled together. The stationery, from a luxury hotel in Switzerland called Les Trois Roix (The Three Kings), evokes a premodern system of governance predicated on the transcendental and absolute authority of the monarch. The typeface sample reads “KLEINBAUER\/MITTELBAUER\/GROSSBAUER” (“small farmer\/middle farmer\/big farmer”) in larger and larger letters.\u003c\/p\u003e\n\u003cp\u003eWhereas the hotel stationery suggests a hierarchical system of power—and the reinscription of monarchy in contemporary luxury tourism—the type sample refers to the labor practices that provide the material basis for all political life (as well as the collectivist movements that have emerged from the organizing efforts of farmers, among other laborers). By grafting a set of socialist terms onto an emblem of monarchy, Williams poetically conjures the history of class conflict while pointing to the presence of what he calls “redundant forms”: the age-old hierarchical systems that seem to be obsolete but persist in quotidian objects like typefaces, logos, and stationery.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003ePrototype for Typographic Primer\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003ewas created on the occasion of Triple Canopy’s 2020 benefit, which honored the artist, activist, writer, and educator Gregg Bordowitz. “I was inspired by Bordowitz’s work as an educator and poet to create a concrete poem that also has an educational function,” Williams notes. “While I imagined the edition as a primer for children to learn about the ideas, biases, and politics behind certain systems of cultural and commercial production—such as typefaces—the work is also meant to prompt a more general reflection on the dominant political and cultural discourses that continue undisturbed with the sheen of progressive politics.”\u003c\/p\u003e","brand":"Triple Canopy","offers":[{"title":"Default Title","offer_id":42882252833025,"sku":"","price":2000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0634\/7931\/6737\/products\/Williams_Framed_new.jpg?v=1653411749"},{"product_id":"black-apparel","title":"Black Apparel, 2019 by Arthur Jafa","description":"\u003cp\u003e \u003c\/p\u003e\n\u003ch5\u003eArthur Jafa\u003cbr\u003e\u003cem\u003eBlack Apparel\u003c\/em\u003e, 2019\u003cbr\u003eArchival inkjet pigment print on semi-matte paper\u003cbr\u003e26 ¾\" × 38\" each print; 27 ⅝\" × 38 ⅞\" each framed\u003cbr\u003eEdition of ten works\u003cbr\u003eSigned, dated, and numbered by the artist\u003cbr\u003ePublished on the occasion of Triple Canopy’s\u003cbr\u003e2019 benefit, honoring Joan Jonas\u003cbr\u003ePrinted at Software Studios\u003cbr\u003eCourtesy of the artist and Gavin Brown’s enterprise, New York \u0026amp; Rome\u003c\/h5\u003e\n\u003ch5\u003eFor more information, please write to \u003ca href=\"mailto:development@canopycanopycanopy.com\" target=\"_blank\"\u003ecesia@\u003cwbr\u003ecanopycanopycanopy.com\u003c\/wbr\u003e\u003c\/a\u003e.\u003c\/h5\u003e\n\u003cp\u003eTriple Canopy is pleased to announce\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eBlack Apparel\u003c\/em\u003e, a new photographic montage by Arthur Jafa published on the occasion of the magazine’s 2019 benefit, honoring Joan Jonas. All proceeds from the sale of\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eBlack Apparel\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003ewill benefit Triple Canopy’s programs for artists and writers.\u003c\/p\u003e\n\u003cp\u003eReflecting on his artistic approach, Jafa has said that he’s “driven by an impulse to consolidate things that were there, but were dispersed.”\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eBlack Apparel\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eis an expression of this method, offering a glimpse into how Jafa arrives at the references and ideas that inform his work. For the Triple Canopy edition, Jafa organized personal notes and found images in a grid-like structure against a gray background; in this regard, the work shares a number of formal characteristics with an earlier montage,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eAPEX\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e(2018). Stevie Wonder, Kanye West, Miles Davis, and James Brown are among those pictured. Works by Marcel Duchamp, Jack Whitten, Pablo Picasso, and Fred Wilson are in dialogue with African sculptural forms, contemporary fashion, and depictions of decay, violence, and detainment. In an associative mode, Jafa’s notes meditate on the centrality of bodily expression—and fashion in particular—to black culture.\u003c\/p\u003e\n\u003cp\u003eOf particular importance to Jafa is a statement by the artist Nam June Paik: “The culture that’s going to survive in the future is the culture that you carry around in your head.” Jafa explains, “Despite the fact that we came with a full spectrum of incredibly rich traditions of expressivity (both material and immaterial), black people came to be most strong in those spaces where our cultural traditions could be carried in our nervous systems.” Sartorial and gestural comportment,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eBlack Apparel\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003emakes clear, is one such tradition.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003ch5\u003ePhotograph by Daniel Terna.\u003c\/h5\u003e","brand":"Triple Canopy","offers":[{"title":"Default Title","offer_id":42882258829569,"sku":"","price":12000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0634\/7931\/6737\/products\/TC_Black-Apparel_Arthur-Jaffa_Art-Edition_1920x1200_559a863a-cf0b-40d2-9ae7-7f990b56f86f.jpg?v=1653411902"},{"product_id":"the-sun-does-not-move-position-1-12","title":"The Sun Does Not Move, Position 1–12, 2019 by R. H. Quaytman","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cdiv class=\"material\"\u003e\n\u003ch5\u003eA series of twelve works published for the occasion of Triple Canopy’s 2018 and 2019 benefits, pictured below.\u003c\/h5\u003e\n\u003ch5\u003eFor more information, please write to \u003ca href=\"mailto:development@canopycanopycanopy.com\" target=\"_blank\"\u003ecesia@\u003cwbr\u003ecanopycanopycanopy.com\u003c\/wbr\u003e\u003c\/a\u003e.\u003c\/h5\u003e\n\u003c\/div\u003e\n\u003cp\u003eTriple Canopy is pleased to announce\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eThe Sun Does Not Move, Position 1–12\u003c\/em\u003e, a series of twelve unique silk-screened prints by R. H. Quaytman, commissioned in 2018 to honor Maggie Nelson at our annual benefit, and printed on the occasion of our 2019 benefit, honoring Joan Jonas. Since 2001, Quaytman has structured presentations of her paintings as “chapters” of a continuously written (and rewritten) “book” that constitutes her oeuvre. In so doing, her work treats paintings as objects of discourse that directly engage with the ways in which the medium is produced, circulated, presented, and received by audiences. Quaytman’s series for Triple Canopy shares its name with an exhibition of her work at Muzeum Sztuki in Łódź, Poland: “\u003ca href=\"https:\/\/msl.org.pl\/en\/eventsms\/upcoming-exhibitions\/r-h-quaytman-chapter-35,2773.html\" target=\"_blank\"\u003eThe Sun Does Not Move, Chapter 35\u003c\/a\u003e” (November 8, 2019–February 23, 2020).\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThe Sun Does Not Move, Position 1–12\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eemploys many of the themes that animate Quaytman’s chapters. A set of parallel vertical lines runs across each monoprint, producing a moiré effect when viewed from certain perspectives. Behind the lines, a round object—an amalgam of a breast and the sun—appears from out of frame, progresses across the prints, and disappears. The image varies slightly from one print to the next, simulating movement. Yet, while the round object seems to phase in and out of the prints, the series’s title suggests that the object’s ostensible movement is in fact a phenomenon produced by the viewer, not the prints themselves. In\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eThe Sun Does Not Move, Position 1–12\u003c\/em\u003e, the act of viewing is revealed to be one of contingency—an experience determined just as much by adjacent objects and their environment as by the individual item under consideration.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003ch5\u003ePhotographs by Daniel Terna.\u003c\/h5\u003e","brand":"Triple Canopy","offers":[{"title":"Default Title","offer_id":42882268266753,"sku":"3","price":5000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0634\/7931\/6737\/products\/Triple-Canopy_2019-Benefit_R-H-Quaytman_Art-Edition_07.jpg?v=1653412261"},{"product_id":"version-history","title":"Version History by Mary Ping","description":"\u003ch5 data-mce-fragment=\"1\"\u003eHard-enamel pin in white\/gold\u003cbr\u003e 1\" × 1\"\u003cbr\u003e Edition of three hundred\u003cbr\u003e Published by Triple Canopy\u003c\/h5\u003e\n\u003ch5 data-mce-fragment=\"1\"\u003eVersion History is available for purchase or by becoming a \u003ca href=\"https:\/\/store.canopycanopycanopy.com\/collections\/membership\"\u003emember\u003c\/a\u003e.\u003c\/h5\u003e\n\u003cp data-mce-fragment=\"1\"\u003eTriple Canopy is pleased to announce Version History, an enamel pin designed by Mary Ping, produced in a limited edition on the occasion of the magazine’s tenth anniversary.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eMary Ping is widely regarded for her witty anthropological investigations of classic fashion forms—variously realized as clothing, accessories, and art installations—under the label Slow and Steady Wins the Race. Triple Canopy’s editors invited Ping to consider how wearable commemorative items, such as the enamel pin, attempt to wed memory to static form. Ultimately, Version History was produced in an edition of 300, in two color combinations: white\/gold and\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eblack\/gold. Each will be made available to new members, who sign-up online this month and to current members who attend the magazine’s tenth-anniversary celebration on June 23.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003ePing studied art at Vassar College. In 2017, Ping received the National Design Award for fashion. Her performance-installation\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eMetamorphosis\u003c\/em\u003e, which examines the evolution of the handbag as both utilitarian object and luxury-status symbol, was included in “Items: Is Fashion Modern?,” the Museum of Modern Art’s first exhibition devoted to fashion. It was originally presented in “Joining Forces with the Unknown (Faisons de l’inconnu un allié)” at Lafayette Anticipations, Paris. Currently, Ping finished the costume designs for the Liz Magic Laser’s performance piece, ‘Poignée’, debuting this summer at Centre Pompidou, among other projects. Ping’s work is included in the permanent collections of the Victoria \u0026amp; Albert Museum, London; the Museum at FIT, New York; Rhode Island School of Design, Providence; and the Deste Foundation, Athens.\u003c\/p\u003e","brand":"Triple Canopy","offers":[{"title":"white\/gold","offer_id":42882283110657,"sku":"Mary-Ping-White","price":12.0,"currency_code":"USD","in_stock":true},{"title":"black\/gold","offer_id":42882283143425,"sku":"Mary-Ping-Black","price":12.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0634\/7931\/6737\/products\/180612_ping_pin_white_thumb_1012x910px.jpg?v=1653412483"},{"product_id":"banners-for-resentment","title":"Banners for Resentment, 2018 by José León Cerrillo, Jaya Howey, Ulrike Müller, Ebecho Muslimova, Willa Nasatir \u0026 Anicka Yi by José León Cerrillo, Jaya Howey, Ulrike Müller, Ebecho Muslimova, Willa Nasatir \u0026 Anicka Yi","description":"\u003ch5\u003eSix digital dye prints on cotton voile\u003cbr\u003e40\" × 30\" each\u003cbr\u003eEdition of ten with two artist’s proofs\u003cbr\u003eSigned and dated certificate\u003cbr\u003ePrinted by Software Studios, Brooklyn\u003cbr\u003eCreated in support of Triple Canopy’s forthcoming issue on resentment\u003c\/h5\u003e\n\u003ch5\u003eEach banner is available for purchase individually or as part of a suite of six.\u003c\/h5\u003e\n\u003ch5\u003eFor more information, please write to \u003ca href=\"mailto:development@canopycanopycanopy.com\" target=\"_blank\"\u003ecesia@\u003cwbr\u003ecanopycanopycanopy.com\u003c\/wbr\u003e\u003c\/a\u003e.\u003c\/h5\u003e\n\u003cp\u003eTriple Canopy is pleased to announce Banners for Resentment, a new suite of editions by the artists\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eJosé León Cerrillo\u003c\/strong\u003e,\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eJaya Howey\u003c\/strong\u003e,\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eUlrike Müller\u003c\/strong\u003e,\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eEbecho Muslimova\u003c\/strong\u003e,\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eWilla Nasatir\u003c\/strong\u003e, and\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eAnicka Yi\u003c\/strong\u003e. Triple Canopy’s editors invited each artist to create a work in collaboration with\u003cspan\u003e \u003c\/span\u003e\u003ca href=\"http:\/\/software-studios.com\/\" target=\"_blank\"\u003eSoftware Studios\u003c\/a\u003e, a Brooklyn-based creative studio that specializes in high-quality digital textile printing. Proceeds from the sale of these editions will support Triple Canopy’s upcoming issue devoted to resentment, which will launch this summer and continue publication for one year.\u003c\/p\u003e\n\u003cp\u003eThe issue considers resentment as one of the predominant affects of our time. Much has been made of the expression and experience of resentment on the internet; more still of its fundamental role in the surge in right-wing populism—often construed as a creature of the digital realms—in the United States and Europe, especially in terms of the role of class, media, race, and geography. But might this account be simplistic and partial, inasmuch as it casts resentment as the sole province of straight, white, and typically American men—as well as inherently excessive, selfish, and irresponsible as a feeling to possess and express? Without calling for a total recuperation of resentment, this issue will ask what resentment might unexpectedly engender and disclose.\u003c\/p\u003e\n\u003cp\u003eTriple Canopy extends its deepest gratitude to all the artists for their generous and inspiring contributions to this project. We also wish to thank Eileen Cohen and Gabrielle Giattino for their guidance and support, as well as the artists’ galleries: Andréhn-Schiptjenko, Bureau, Callicoon Fine Arts, Magenta Plains, Chapter NY, and 47 Canal.\u003c\/p\u003e","brand":"Triple Canopy","offers":[{"title":"Default Title","offer_id":42882293367041,"sku":"","price":750.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0634\/7931\/6737\/products\/08A0282-Edit_composite_flat_websize.jpg?v=1653412671"},{"product_id":"triple-canopy-head-1-5","title":"Triple Canopy Head 1–5, 2017 by Lorna Simpson","description":"\u003cp\u003e \u003c\/p\u003e\n\u003ch5\u003eLorna Simpson \u003cbr\u003e\u003cem\u003eTriple Canopy Head 1–5\u003c\/em\u003e, 2017 \u003cbr\u003eInkjet and ink on paper, unique \u003cbr\u003e29½\" × 21½\" each (31\" × 24\" × 1⅝\" each framed) \u003cbr\u003eSigned and dated on front, \u003cbr\u003edated and titled on reverse \u003cbr\u003eCreated on the occasion of \u003cbr\u003eTriple Canopy’s 2017 benefit \u003cbr\u003eCourtesy of the artist and Hauser \u0026amp; Wirth, New York\u003c\/h5\u003e\n\u003ch5\u003eFor more information, please write to \u003ca href=\"mailto:development@canopycanopycanopy.com\" target=\"_blank\"\u003ecesia@\u003cwbr\u003ecanopycanopycanopy.com\u003c\/wbr\u003e\u003c\/a\u003e.\u003c\/h5\u003e\n\u003cp\u003eTriple Canopy is pleased to announce\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eTriple Canopy Head 1–5\u003c\/em\u003e, a new artwork created by Lorna Simpson on the occasion of the magazine’s 2017 benefit, which honors the writer Hilton Als. All proceeds from the sale of\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eTriple Canopy Head 1–5\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003ewill benefit Triple Canopy’s programs for artists and writers.\u003c\/p\u003e\n\u003cp\u003eFor this occasion, Simpson has created a suite of five collages, which are composed of printed and hand-painted elements. Central to\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eTriple Canopy Head 1–5\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eis the image of a found bust, which was cast in aluminum. The black patina on the surface of the bust has been chipped and worn away, possibly from exposure, revealing an aluminum base. Simpson photographed the bust in head-on, three-quarter, and rear profiles; these perspectival views provide the basis for each collage.\u003c\/p\u003e\n\u003cp\u003eSimpson’s works have been exhibited at and are in the collections of the Museum of Modern Art, New York; the Museum of Contemporary Art, Chicago; Walker Art Center, Minneapolis; the Whitney Museum of American Art, New York; Los Angeles Museum of Contemporary Art, Los Angeles; and Haus der Kunst, Munich, among other institutions. Significant exhibitions of her work include the Hugo Boss Prize at the Guggenheim Museum, New York; Documenta XI in Kassel, Germany; and the fifty-sixth Venice Biennale.\u003c\/p\u003e\n\u003cp\u003eSpecial thanks to Hauser \u0026amp; Wirth for its generous support of this project.\u003c\/p\u003e","brand":"Triple Canopy","offers":[{"title":"Default Title","offer_id":42882303951105,"sku":"","price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0634\/7931\/6737\/products\/Lorna_Simpson_web_v1.jpg?v=1653412808"},{"product_id":"profit-and-loss","title":"Profit and Loss, 2017 by Goldin+Senneby with Johan Hjerpe","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003ch5 data-mce-fragment=\"1\"\u003eGoldin+Senneby with Johan Hjerpe (illustration)\u003cbr\u003e \u003cem\u003eProfit and Loss\u003c\/em\u003e, 2017\u003cbr\u003e Risograph print with red ink on Arches 88 paper\u003cbr\u003e 11\" × 14\"\u003cbr\u003e Edition of fifty with ten artist’s proofs\u003cbr\u003e Signed and numbered by the artist\u003cbr\u003e Printed by Gerardo Madera, Common Satisfactory Standard\u003cbr\u003e Courtesy of the artist\u003c\/h5\u003e\n\u003cp data-mce-fragment=\"1\"\u003eProfit and Loss\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eis printed in two colors; half of the edition is printed with\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003ca href=\"https:\/\/www.canopycanopycanopy.com\/series\/headless\/contents\/profit-and-loss-red\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.canopycanopycanopy.com\/series\/headless\/contents\/profit-and-loss-red\" target=\"_blank\"\u003ered\u003c\/a\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eink and half with purple.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eSince 2013, Triple Canopy has acted as a contractor and publisher in service of Goldin+Senneby, as the Swedish artist duo has undertaken a multifarious investigation of offshore finance and the free rein of capital. Triple Canopy’s work culminated in 2015 with the publication K. D.’s murder-mystery\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003e\u003ca href=\"https:\/\/www.canopycanopycanopy.com\/series\/headless\/contents\/headless\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.canopycanopycanopy.com\/series\/headless\/contents\/headless\" target=\"_blank\"\u003eHeadless\u003c\/a\u003e\u003c\/em\u003e, in which a British ghostwriter, hired by Goldin+Senneby, uncovers a sacrifice-obsessed secret society of global elites who will do anything to maintain their power. Before and after the release of\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eHeadless\u003c\/em\u003e, Triple Canopy produced a\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003ca href=\"https:\/\/www.canopycanopycanopy.com\/series#headless\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.canopycanopycanopy.com\/series#headless\" target=\"_blank\"\u003eseries\u003c\/a\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eof essays, readings, and conversations about covert capitalism, human sacrifice, and the pleasures of fiction that impinges on reality.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eTriple Canopy’s endeavor concludes, for now, with the publication of\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eProfit and Loss\u003c\/em\u003e. The print portrays a severed head turned toward a window that frames an idyllic beach in the Bahamas—which is where\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eHeadless\u003c\/em\u003e’s ghostwriter is sent to probe a shadowy financial firm. The image is one of a suite of illustrations for the novel created by Goldin+Senneby and designed by Johan Hjerpe. (The illustrations originally appeared as inserts in the newspaper\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eMetro\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eas part of the 2008 São Paulo Biennial.)\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eProfit and Loss\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eemblematizes the relationship between contemporary finance, decapitation, and philosopher Georges Bataille’s formulation of sovereignty—which in the novel obsesses Goldin+Senneby and flummoxes the ghostwriter, much to his peril.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eSimon Goldin and Jakob Senneby began to work as a duo in 2004 and describe Goldin+Senneby as a “collaborative framework for exploring juridical, financial, and spatial constructs.” Goldin+Senneby focuses on speculation and contemporary financial markets, and often employs the practices that distinguish those markets. Rather than attempt to demystify the economic system, Goldin+Senneby’s work revels in obfuscation. In\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003e\u003ca href=\"https:\/\/frieze.com\/article\/show-me-receipts\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/frieze.com\/article\/show-me-receipts\" target=\"_blank\"\u003eFrieze\u003c\/a\u003e\u003c\/em\u003e, Christy Lange describes\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eHeadless\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eas being “as complex and opaque—with as many red-herrings, smokescreens and fake names—as the offshore system it depicts.” Which isn't to say that, in conflating finance and fiction, Goldin+Senneby’s work admits the impossibility of understanding, much less altering, the ways in which value is created and wealth is hoarded. In fact, as T. J. Demos writes in\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003e\u003ca href=\"http:\/\/www.goldinsenneby.com\/articles\/Demos-Goldin+Senneby.pdf\" data-mce-fragment=\"1\" data-mce-href=\"http:\/\/www.goldinsenneby.com\/articles\/Demos-Goldin+Senneby.pdf\" target=\"_blank\"\u003eArtforum\u003c\/a\u003e\u003c\/em\u003e, “One might see in\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eHeadless\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003ethe potential for a collective imagination that would reinvent a politics of regulatory justice.”\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eGoldin+Senneby’s practice includes installations, theatrical productions, interventions in financial markets, magic shows, and novels; these projects often involve the artists withdrawing from the production of work, and instead directing the labor of others. Recently, Goldin+Senneby has researched an eighteenth-century alchemist who schemed to devalue gold and developed a new trading algorithm—or “\u003ca href=\"https:\/\/www.bloomberg.com\/view\/articles\/2016-08-25\/magic-tricks-and-vanishing-directors\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.bloomberg.com\/view\/articles\/2016-08-25\/magic-tricks-and-vanishing-directors\" target=\"_blank\"\u003emagic trick\u003c\/a\u003e” —meant to manipulate the value of publicly traded companies. The culmination of that project,\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003e\u003ca href=\"http:\/\/www.sternberg-press.com\/index.php?pageId=1728\u0026amp;l=en\u0026amp;bookId=621\u0026amp;sort=\" data-mce-fragment=\"1\" data-mce-href=\"http:\/\/www.sternberg-press.com\/index.php?pageId=1728\u0026amp;l=en\u0026amp;bookId=621\u0026amp;sort=\" target=\"_blank\"\u003eThe Exquisite Corpse of August Nordenskiöld\u003c\/a\u003e\u003c\/em\u003e, edited with Kim Einarsson, was published this year.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eGoldin+Senneby’s retrospective, “Standard Length of a Miracle,” was on view in 2016 at Tensta konsthall in Stockholm and will open at the Institute of Modern Art in Brisbane in November 2017. Goldin+Senneby has also had solo exhibitions at CCA Derry-Londonderry; Kadist, Paris; and the Power Plant, Toronto, among other venues. Goldin+Senneby has recently participated in the 2016 Gwangju Biennale and group exhibitions at STUK, Leuven; Lisson Gallery, London; Haus der Kulturen der Welt, Berlin; Vienna Künstlerhaus; Tate Liverpool; KunstWerke, Berlin; the Kitchen, New York; Witte de With, Rotterdam; Museo Tamayo, Mexico City; as well as the 2013 Istanbul Biennial.\u003c\/p\u003e","brand":"Triple Canopy","offers":[{"title":"purple","offer_id":42882488008961,"sku":"","price":150.0,"currency_code":"USD","in_stock":true},{"title":"red","offer_id":42882488041729,"sku":"","price":150.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0634\/7931\/6737\/products\/170403_headless_edition_blue_thumb_1b7cb942-a957-4543-bb94-d8bc6ca40c56.jpg?v=1653416658"},{"product_id":"currentmood","title":"currentmood, 2017 by Cory Arcangel","description":"\u003cp\u003e \u003c\/p\u003e\n\u003ch5\u003eCory Arcangel\u003cbr\u003e\u003cem\u003ecurrentmood\u003c\/em\u003e, 2017\u003cbr\u003eSet of five pigmented inkjet prints on canvas in custom box\u003cbr\u003e40\" × 24\" x 1\" (each canvas); 41\" × 25\" × 9\" (box) \u003cbr\u003eEdition of ten with two artist’s proofs\u003cbr\u003eStamped and numbered by the artist\u003cbr\u003ePublished by Triple Canopy\u003cbr\u003eCourtesy of the artist \u003cbr\u003e\n\u003c\/h5\u003e\n\u003ch5\u003eFor more information, please write to \u003ca href=\"mailto:development@canopycanopycanopy.com\" target=\"_blank\"\u003ecesia@\u003cwbr\u003ecanopycanopycanopy.com\u003c\/wbr\u003e\u003c\/a\u003e.\u003c\/h5\u003e\n\u003cp\u003eTriple Canopy is pleased to announce\u003cspan\u003e \u003c\/span\u003e\u003cem\u003ecurrentmood\u003c\/em\u003e, a new edition created by the artist Cory Arcangel that will be on view at the\u003cspan\u003e \u003c\/span\u003e\u003ca href=\"http:\/\/independenthq.com\/2017\/new-york\/\" target=\"_blank\"\u003eIndependent, New York\u003c\/a\u003e, March 2–5.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003ecurrentmood\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eis a set of five canvases housed in a custom box. Arcangel, who is known to materialize his Web-browsing habits through his artworks, offers a kind of image dump as self-portrait. Each canvas demonstrates a distinct visual vocabulary and style, with image sources ranging from paparazzi and luxury advertising to social media posts and the artist’s own oeuvre. The canvases are housed in a high-gloss, commercially printed case (complete with handle), like those used to package and display high-definition televisions. The box’s exterior features a portrait of the late entrepreneur, music producer, and felon Lou Pearlman, famous for the manufacturing of 1990s boy bands—most notably Backstreet Boys and ’N Sync—as well as for orchestrating a Ponzi scheme that sent him to prison, where he died at age sixty-two. Taken together, the components of\u003cspan\u003e \u003c\/span\u003e\u003cem\u003ecurrentmood\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003ereflect the highly controlled and commercialized nature of personal expression online, the frictionless mode of “content discovery” guided by hidden structures and invisible actors.\u003c\/p\u003e\n\u003cp\u003eArcangel’s work ranges from compositions to modified video games, from performances to Internet interventions. Most recently, Arcangel and Olia Lialina preseented the show “Asymmetrical Response” (2016–17) at Western Front in Vancouver, British Columbia, then at the Kitchen in New York. Under the auspices of his publishing and merchandise imprint Arcangel Surfware, Arcangel presented a solo booth at the 2016 New York Art Book Fair at MoMA PS1, New York, where he debuted\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eThe Source Digest\u003c\/em\u003e, a paperback with annotated source code for his software works.\u003c\/p\u003e\n\u003cp\u003eArcangel’s recent solo exhibitions include “currentmood” (2016) at Lisson Gallery, London; “Be the first of your friends” (2015) at Espace Louis Vuitton München, Germany; “This is all so crazy, everybody seems so famous” (2015) at Galleria d’Arte Moderna e Contemporanea di Bergamo, Italy; and “All the Small Things” (2015) at the Reykjavík Art Museum. With “Pro Tools” (2011), Arcangel became the youngest artist since Bruce Nauman to have a full-floor solo exhibition at the Whitney Museum of American Art. His work is included in many public collections, including those of the Hammer Museum, Los Angeles; the Museum of Modern Art, New York; Tate, London; Neue Nationalgalerie, Berlin; the Smithsonian Museum of American Art, Washington, D.C.; and the Migros Museum für Gegenwartskunst, Zürich.\u003c\/p\u003e\n\u003cp\u003eSpecial thanks to Lisson Gallery for its generous support.\u003c\/p\u003e","brand":"Triple Canopy","offers":[{"title":"Default Title","offer_id":42882517762305,"sku":"","price":40000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0634\/7931\/6737\/products\/main_image.jpg?v=1653417155"},{"product_id":"series-of-seven-works","title":"Series of seven works, 2016 by Danh Vō","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cdiv class=\"material\"\u003e\n\u003ch5\u003eA series of seven works created for the occasion of Triple Canopy’s 2016 benefit, pictured below.\u003c\/h5\u003e\n\u003ch5\u003eFor more information, please write to \u003ca href=\"mailto:development@canopycanopycanopy.com\" target=\"_blank\"\u003ecesia@\u003cwbr\u003ecanopycanopycanopy.com\u003c\/wbr\u003e\u003c\/a\u003e.\u003c\/h5\u003e\n\u003ch5\u003ePhotographs by Daniel Terna.\u003c\/h5\u003e\n\u003c\/div\u003e\n\u003cp\u003eTriple Canopy is pleased to announce a new series of works created by Danh Vō on the occasion of the magazine’s 2016 benefit, which honors the artist, writer, and curator Julie Ault.\u003c\/p\u003e\n\u003cp\u003eFor this series, Vō and Ault devised a series of psychic messages for seven individuals. Vō and Ault solicited the help of Elaine Ault, Julie’s mother, who is a psychic medium—a person who tunes in to spiritual energy to channel timely information and messages. Elaine relayed a series of symbolic phrases, such as “Figure Eight Infinity” or “Seven Gold Butterflies,” for each of the seven subjects, whose identities remain concealed. Phung Vō, Danh’s father and frequent collaborator, then rendered these texts by hand in a calligraphic blackletter script. As in many of Vō’s past works, the materialization of clairvoyant messages in this series speaks to the ways in which meaning (whether or not decipherable) is embedded in everyday objects, and the ways in which they constitute or represent us, even as they are displaced, fragmented, appropriated, and passed from hand to hand.\u003c\/p\u003e\n\u003cp\u003eDanh Vō’s lauded series of sculptures\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eWe the people\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003econsists of full-scale facsimiles of New York’s Statue of Liberty; it was initiated in 2010 and continues to be exhibited around the world. Vō’s work has recently been presented at Museo Jumex, Mexico City; Nottingham Contemporary, UK; and The Kitchen, New York (all 2014). Vō was the recipient of the Guggenheim’s Hugo Boss Prize in 2012. He is represented by Marian Goodman Gallery in New York and London, where “Homosapiens” was on view in 2015.\u003c\/p\u003e\n\u003cp\u003eSpecial thanks to Marian Goodman Gallery for its generous support.\u003c\/p\u003e","brand":"Triple Canopy","offers":[{"title":"Default Title","offer_id":42882529460481,"sku":"","price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0634\/7931\/6737\/products\/Danh-Vo_benefit-6.jpg?v=1653417442"},{"product_id":"psychic-portraits","title":"Psychic Portraits, 2016 by Sadie Benning","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv class=\"material\"\u003e\n\u003ch5\u003e\n\u003cem\u003ePsychic Portraits\u003c\/em\u003e, a series of six works created for the occasion of Triple Canopy’s 2016 benefit, pictured below\u003c\/h5\u003e\n\u003ch5\u003ePhotographs by Chris Austin.\u003c\/h5\u003e\n\u003ch5\u003eThis edition is sold out.\u003c\/h5\u003e\n\u003c\/div\u003e\n\u003cp data-mce-fragment=\"1\"\u003eTriple Canopy is pleased to announce\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003ePsychic Portraits\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eby Sadie Benning, a new series of works created on the occasion of the magazine’s 2016 benefit, which honors artist, writer, curator Julie Ault.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eFor\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003ePsychic Portraits\u003c\/em\u003e, Benning created six unique works based on artists and friends held in common with Ault. Benning has in recent years explored the relationship between painting and sculpture, but in\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003ePsychic Portraits\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003ehe deepens the engagement with photographic and filmic media that characterizes his earlier works. Yet Benning’s handling of materials in\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003ePsychic Portraits\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eborrows equally from all these art forms, combining materials and styles that do not conventionally merge. Each portrait features a dominant image that Benning disrupts by embedding digital snapshots, reproductions of found photographs, and other pictures onto its surface. The resulting construction is seemingly bound together by irregularities, complicating the viewer’s ability to make easy associations, especially concerning popular representations of gender and sexuality. With\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003ePsychic Portraits\u003c\/em\u003e, Benning challenges stylistic norms and proves the infinite malleability of transitional identities and artistic genres alike.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eBenning’s work is held in many museum collections and was recently included in “Greater New York,” MoMA PS1; “Painting 2.0: Expression in the Information Age,” Museum Brandhorst, Munich and MuMOK, Vienna; “The Carnegie International,” Carnegie Museum of Art, Pittsburgh; and “Tell It To My Heart: Collected by Julie Ault,” Kunstmuseum Basel and Artists Space. This fall, Benning mounted solo exhibitions at Kaufmann Repetto, Milan; the Renaissance Society, Chicago; and Air de Paris, Paris.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eSpecial thanks to Susanne Vielmetter Los Angeles Projects for its generous support.\u003c\/p\u003e","brand":"Triple Canopy","offers":[{"title":"Default Title","offer_id":42882536145153,"sku":"","price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0634\/7931\/6737\/products\/Chris-Austin_benefit-6.jpg?v=1653417529"},{"product_id":"charlie-pig-challenges-the-patriarchy","title":"Charlie Pig challenges the patriarchy, 2016 by Sharon Hayes","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cdiv class=\"material\"\u003e\n\u003ch5\u003ePigmented inkjet print\u003cbr\u003e11\" × 8½\" (image); 12¾\" × 10¾\" (framed)\u003cbr\u003eEdition of 20 with 2 artist’s proofs\u003cbr\u003ePublished on the occasion of Triple Canopy’s 2015 benefit\u003cbr\u003eCourtesy of the artist and Tanya Leighton Gallery, Berlin\u003c\/h5\u003e\n\u003ch5\u003eFor more information, please write to \u003ca href=\"mailto:development@canopycanopycanopy.com\" target=\"_blank\"\u003ecesia@\u003cwbr\u003ecanopycanopycanopy.com\u003c\/wbr\u003e\u003c\/a\u003e.\u003c\/h5\u003e\n\u003c\/div\u003e\n\u003cp\u003eTriple Canopy is pleased to announce\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eCharlie Pig challenges the patriarchy\u003c\/em\u003e, a new artwork edition by Sharon Hayes, originally commissioned on the occasion of the magazine’s 2015 benefit honoring choreographer, writer, and visual artist Ralph Lemon.\u003c\/p\u003e\n\u003cp\u003eIn this new work for Triple Canopy, Hayes restages an archival photograph from the Hall-Carpenter Archives, a repository for journals, ephemera, and other materials related to lesbian, gay, bisexual, and transgender activism in the United Kingdom and worldwide. The original photograph was taken by John Chesterman, an activist associated with London’s Gay Liberation Front. It features a child encountering a protester who wears a donkey costume mask—thought to represent the character Bottom from Shakespeare’s\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eA Midsummer Night’s Dream\u003c\/em\u003e—at an event organized by the Gay Liberation Front’s street theater group. An incongruous note affixed to the verso of the original photograph, which reads, “Charlie Pig challenges the patriarchy,” provides Hayes’s work with its title. While the original is labeled “Easter Sunday, 1971,” the date inscribed on similar photos from the same collection is “May Day, 1971.” Across the Atlantic, in Washington, DC, May 1, 1971, marked the first of three days of large-scale demonstrations against the Vietnam War, during which more than twelve thousand protesters were arrested.\u003c\/p\u003e\n\u003cp\u003eIn\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eCharlie Pig challenges the patriarchy\u003c\/em\u003e, Hayes explores the political efficacy of visual art and the kinds of encounters produced by archives as collections of objects divorced from their original contexts. Working with a photographer and theater costume designer to recreate the encounter appearing in the original photograph, Hayes reconsiders the relationships that made the image possible. Her use of multiple displacements (as the encounter shifts from being an event to a photograph to a restaging to, again, a photograph) highlights the moment as lived, represented, and, eventually, historicized. Hayes thus underscores the necessity of considering both feeling and fact in interpreting political events.\u003c\/p\u003e\n\u003cp\u003eWorking primarily in video, performance, and installation, Hayes began her artistic career in the nineties as part of the downtown New York dance, theater, and performance scene. In her photography, Hayes investigates the relationship between history, politics, and speech. Her multidisciplinary approach borrows from theater, anthropology, and journalism, among other artistic and academic practices. Her work has been exhibited internationally at institutions such as the New Museum for Contemporary Art, New York; the Guggenheim Museum, New York; Artists Space, New York; the Tate Modern, London; Museum Moderner Kunst, Vienna; and the Deutsche Guggenheim, Berlin. In 2010, she was included in the Whitney Biennial as well as MoMA PS1’s “Greater New York.” Hayes’s work was the subject of a 2012 solo exhibition, “There’s So Much I Want to Say to You,” at the Whitney Museum of American Art. “In My Little Corner of the World, Anyone Would Love You,” a major new commission, is on view at Studio Voltaire, London, through June 2016. Hayes is an associate professor of fine arts at the University of Pennsylvania.\u003c\/p\u003e","brand":"Triple Canopy","offers":[{"title":"Default Title","offer_id":42882542174465,"sku":"","price":2500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0634\/7931\/6737\/products\/160602_hayes-store-image.jpg?v=1653417616"},{"product_id":"untitled-dead-horse-bay","title":"Untitled (Dead Horse Bay), 2016 by David Horvitz","description":"\u003cp\u003e \u003c\/p\u003e\n\u003ch5\u003eUnique hand-blown sea-glass sculpture\u003cbr\u003eDimensions variable\u003cbr\u003eCertificate signed and dated by the artist\u003cbr\u003ePublished as part of Triple Canopy’s Standard Evaluation Materials issue\u003cbr\u003eCourtesy of the artist\u003c\/h5\u003e\n\u003ch5\u003ePhotographs by Phoebe d’Heurle\u003cbr\u003e\n\u003c\/h5\u003e\n\u003ch5\u003eFor more information, please write to \u003cmeta charset=\"utf-8\"\u003e \u003ca href=\"mailto:development@canopycanopycanopy.com\" target=\"_blank\"\u003ecesia@\u003cwbr\u003ecanopycanopycanopy.com\u003c\/wbr\u003e\u003c\/a\u003e\u003ca href=\"mailto:cesia@canopycanopycanopy.com\" title=\"cesia@canopycanopycanopy.com\"\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003c\/span\u003e\u003c\/a\u003e.\u003c\/h5\u003e\n\u003cp\u003eTriple Canopy is pleased to announce\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eUntitled (Dead Horse Bay)\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eby David Horvitz, a series of unique handblown sea glass sculptures created as part of Standard Evaluation Materials, an issue of the magazine devoted to the standardization of time, measurement, color, film, language, poverty, communication networks, digital files, and manufacturing processes, among other phenomena.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eUntitled (Dead Horse Bay)\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003ebegan with Horvitz combing various beaches in 2014 in search of sea glass—remnants of bottles, windows, screens, sconces, or fishing floats that had been submerged in the ocean. In the course of decades or centuries, waves and sand smooth the surface of the glass and erase its structure, producing pebble-like forms with a naturally frosted finish. Horvitz found the glass fragments used to make this series of sculptures at Dead Horse Bay, a small body of water near the Rockaway Inlet off the southern coast of Brooklyn. The fragments were then melted and reblown to form new vessels based on watercolor sketches by the artist. Because different pieces of glass have different molecular structures, and thus varying rates of expansion and contraction, the sculptures are likely to change in the coming years or decades: cracks may form, shards may peel away, and repair (or acquiescence) of these transformations may be necessary. For the same reason, the form of the sculptures is often determined as much by the qualities of the glass— its distinct malleability or rigidity—as by the artist’s sketches.\u003c\/p\u003e\n\u003cp\u003eHorvitz, who lives in Los Angeles, has in the past decade created a body of work that spans photography, sculpture, performance, bookmaking, and the Web. He often applies the logics of new and old media to everyday phenomena—including weather, gastronomy, travel, measurement, and public space—to ask how our experiences and interactions are formatted and standardized, and to investigate how we might shed those strictures.\u003c\/p\u003e\n\u003cp\u003eIn\u003cspan\u003e \u003c\/span\u003e\u003cem\u003ePublic Access\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e(2010), Horvitz took photos of himself at beaches along the California coast (which are legally public, though entry is often obscured or arduous). He then posted the corresponding image on the Wikipedia page of each beach. This aroused suspicion of Horvitz’s motives and led to debate among Wikipedia moderators, who ultimately deleted the images. In 2014, Horvitz presented “Gnomons” at the New Museum, New York, which included\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eLet Us Keep Our Own Noon\u003c\/em\u003e, a performance in which forty-seven people ring handbells made from a melted down eighteenth century French church bell at local noon, when the sun is at its highest point. For his 2014 solo exhibition at Blum \u0026amp; Poe, Los Angeles, Horvitz traveled by boat to the longitude line that divides the time zones of California and Alaska and collected seawater. He then presented this transplanted water in handmade glass vessels arranged in a north-south line in the gallery, effectively displacing standardized time. Horvitz’s Mood Disorder (2015), which tracks a stock image of a depressed person made by (and picturing) the artist as it circulates online, was recently on view in “Ocean of Images: New Photography 2015” at the Museum of Modern Art, New York. This spring, Horvitz will present solo exhibitions at Librairie Yvon Lambert, Paris; Chert, Berlin; and Pacific Northwest College of Art, Portland, Oregon; as well as a new site-specific work for Frieze Projects at Frieze New York.\u003c\/p\u003e\n\u003cp\u003eHorvitz is a longtime Triple Canopy contributor. In 2012, he worked with the magazine on\u003cspan\u003e \u003c\/span\u003e\u003ca href=\"https:\/\/www.canopycanopycanopy.com\/contents\/miscellaneous-uncatalogued-material\" target=\"_blank\"\u003eMiscellaneous Uncatalogued Materials\u003c\/a\u003e, a series of public programs at the Museum of Modern Art, New York, devoted to the nature of publication, which led to the publication of\u003cspan\u003e \u003c\/span\u003e\u003ca href=\"https:\/\/www.canopycanopycanopy.com\/issues\/16\/contents\/sir_w__mitchell_thomson\" target=\"_blank\"\u003e“Sir W. Mitchell-Thomson.”\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003eIn 2015, as part of the development of Standard Evaluation Materials, Horvitz created a musical instrument from reconstituted hourglasses, which was played by composer and percussionist Susie Ibarra at the Whitney Museum of American Art, New York. This\u003cspan\u003e \u003c\/span\u003e\u003ca href=\"https:\/\/www.canopycanopycanopy.com\/contents\/pattern-masters\" target=\"_blank\"\u003eperformance\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003eevoked moments that can more easily be sounded than measured or calendarized. A conversation between Horvitz and Alexander Provan about time, measurement, sand, and communication networks will also be published as part of\u003cspan\u003e \u003c\/span\u003e\u003ca href=\"https:\/\/www.canopycanopycanopy.com\/issues\/22\" target=\"_blank\"\u003eStandard Evaluation Materials\u003c\/a\u003e.\u003c\/p\u003e\n\u003cdiv class=\"alongslide panel show\" data-alongslide-id=\"store-image-2\"\u003e\n\u003cdiv class=\"contents\"\u003e\n\u003cdiv class=\"inner\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Triple Canopy","offers":[{"title":"Default Title","offer_id":42882554593537,"sku":"","price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0634\/7931\/6737\/products\/150404_david_horvitz_edition_group.jpg?v=1653417757"},{"product_id":"untitled-dome","title":"Untitled (Dome), 2015 by Kevin Beasley","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cdiv class=\"material\"\u003e\n\u003ch5\u003ePolyurethane foam, du-rag, hair rollers\u003cbr\u003e9\" × 7.5\" × 33\"\u003cbr\u003eCertificate signed and dated by the artist\u003cbr\u003eCreated on the occasion of Triple Canopy’s 2015 benefit\u003cbr\u003eCourtesy of the artist and Casey Kaplan, New York\u003c\/h5\u003e\n\u003ch5\u003eFor more information, please write to \u003cmeta charset=\"utf-8\"\u003e \u003ca href=\"mailto:development@canopycanopycanopy.com\" target=\"_blank\"\u003ecesia@\u003cwbr\u003ecanopycanopycanopy.com\u003c\/wbr\u003e\u003c\/a\u003e\u003ca href=\"mailto:cesia@canopycanopycanopy.com\" title=\"cesia@canopycanopycanopy.com\"\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003c\/span\u003e\u003c\/a\u003e.\u003c\/h5\u003e\n\u003c\/div\u003e\n\u003cp\u003eTriple Canopy is pleased to announce\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eUntitled (Dome)\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eby Kevin Beasley, four unique works created on the occasion of the magazine’s 2015 benefit, which honors choreographer, writer, and visual artist Ralph Lemon.\u003c\/p\u003e\n\u003cp\u003eBeasley’s practice combines objects, sound, and performance, and creates palpable connections between the body and the prevailing material culture. His sculptural works meld worn items, both found and personal—such as New Era baseball caps, bandanas, and tube socks—with materials like raw cotton picked by hand from Beasley’s family’s land in Virginia and casting materials like polyurethane foam and resin. The presence of instruments and audio equipment in Beasley’s assemblages and installations—whether a reel-to-reel player, vintage Steinway piano, or contact microphone—proposes that identity and culture are malleable and subject to continual intervention and change.\u003c\/p\u003e\n\u003cp\u003eTo create\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eUntitled (Dome)\u003c\/em\u003e, Beasley cast polyurethane foam, du-rags, and hair rollers in hard hats, which leave an impression—“a soft, pliable image,” in his words. With this choice of materials, Beasley gestures toward an American psyche that is shaped by the alternating comforts, protections, violence, and cleanliness of working-class life, both spiritual and political.\u003c\/p\u003e\n\u003cp\u003eIn 2015, Beasley had solo shows at the High Line, in New York, and the Glass House, in New Canaan, Connecticut. His work is currently included in “Greater New York” at MoMA PS1. He recently contributed\u003cspan\u003e \u003c\/span\u003e\u003ca href=\"https:\/\/www.canopycanopycanopy.com\/series\/passage-of-a-rumor\/contents\/songs-for-m\" target=\"_self\"\u003e“Songs for M”\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003eand, with Fred Moten,\u003cspan\u003e \u003c\/span\u003e\u003ca href=\"https:\/\/www.canopycanopycanopy.com\/series\/passage-of-a-rumor\/contents\/on-poetry-and-the-turntable\" target=\"_self\"\u003e“On Poetry and the Turntable”\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003eto\u003cspan\u003e \u003c\/span\u003e\u003ca href=\"https:\/\/www.canopycanopycanopy.com\/series\/passage-of-a-rumor\" target=\"_self\"\u003ePassage of a Rumor\u003c\/a\u003e, Triple Canopy’s series on how and why we talk about the value and potential acquisition of ephemeral works of art, edited with Lemon.\u003c\/p\u003e\n\u003cp\u003eBeasley’s performances have been presented by the Museum of Contemporary Art, Cleveland; the Walker Art Center, Minneapolis; the Dallas Museum of Art, Texas; and the Guggenheim Museum, Queens Museum of Art, and Museum of Modern Art in New York. From 2013 to 2014, Beasley was a resident at the Studio Museum in Harlem, where his work was included in the group exhibitions “Material Histories” and “When the Stars Begin to Fall: Imagination and the American South” in 2014. In 2015, Beasley’s work was included in “Breath\/Breadth: Contemporary American Black Male Identity,” at the Maier Museum of Art at Randolph College, in Lynchburg, Virginia; and “Storylines: Contemporary Art at the Guggenheim,” at the Guggenheim Museum in New York. With Inva Çota, Stephen Decker, and Golnaz Esmaili, Beasley founded ALLGOLD, a collective dedicated to organizing artistic endeavors that necessitate a dedicated space, such as lectures, film screenings, performances, broadcasts, and social gatherings. ALLGOLD was recently in residence at the Print Shop at MoMA PS1.\u003c\/p\u003e\n\u003cp\u003eSpecial thanks to Casey Kaplan, New York for its generous support.\u003c\/p\u003e\n\u003cdiv class=\"alongslide panel show\" data-alongslide-id=\"store-image-2\"\u003e\n\u003cdiv class=\"contents\"\u003e\n\u003cdiv class=\"inner\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Triple Canopy","offers":[{"title":"Default Title","offer_id":42882572845313,"sku":"","price":8000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0634\/7931\/6737\/products\/1A-Kevin_Beasley_Triple_Canopy_Photos_by_D_Terna_Large_Jpegs-20.jpg?v=1653417929"},{"product_id":"double-mirror","title":"Double Mirror, 2015 by Glenn Ligon","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv class=\"material\"\u003e\n\u003ch5\u003eTen-color screenprint on rag paper in graphite-wash frame\u003cbr\u003e6\" × 9\" (image); 15 7\/8\" × 18 7\/8\" (overall framed)\u003cbr\u003eEdition of thirty-five with fifteen artist’s proofs\u003cbr\u003eSigned, dated, and numbered by the artist\u003cbr\u003ePrinted by Luther Davis, Axelle Editions\u003cbr\u003ePublished on the occasion of\u003cbr\u003eTriple Canopy’s 2015 benefit\u003cbr\u003eCourtesy of the artist\u003c\/h5\u003e\n\u003ch5\u003eThis edition is sold out.\u003c\/h5\u003e\n\u003c\/div\u003e\n\u003cp data-mce-fragment=\"1\"\u003eTriple Canopy is pleased to announce a new edition by Glenn Ligon, published on the occasion of the magazine’s 2015 benefit, which honors choreographer, writer, and visual artist Ralph Lemon. A new print created especially for this occasion,\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eDouble Mirror\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003edeploys many of the visual tropes and ideas that have defined Ligon’s work since the late 1980s.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eIn\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eDouble Mirror\u003c\/em\u003e, language is both to be read and to be manipulated. “America” appears at once as the most familiar of proper nouns and as an uncanny construct, one that, Ligon suggests, is continually reproduced and altered, as via printing in this work. Obscuring though not entirely defacing his subject, Ligon stages reading as a deconstructive act, one that implicates the viewer perceptually, semantically, and politically.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eWorking in a wide variety of media, Ligon explores histories of the United States as well as canonical art histories, reworking familiar figures, narratives, and formal devices to comment on issues of race and identity. Language is central to Ligon’s work, which often contains references to literature and the artist’s personal life. In 2011, Ligon had a midcareer retrospective at the Whitney Museum of American Art. Ligon’s neon\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eRückenfigur\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e(2003), on which this print is based, was included in the Whitney Museum’s inaugural exhibition “America is Hard to See” in 2015. Ligon recently contributed\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003ca data-mce-fragment=\"1\" href=\"https:\/\/www.canopycanopycanopy.com\/series\/passage-of-a-rumor\/contents\/notes-on-a-performance-by-kellie-jones\" target=\"_self\" data-mce-href=\"https:\/\/www.canopycanopycanopy.com\/series\/passage-of-a-rumor\/contents\/notes-on-a-performance-by-kellie-jones\"\u003e“Notes on a Performance by Kellie Jones”\u003c\/a\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eto\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003ca data-mce-fragment=\"1\" href=\"https:\/\/www.canopycanopycanopy.com\/series\/passage-of-a-rumor\" target=\"_self\" data-mce-href=\"https:\/\/www.canopycanopycanopy.com\/series\/passage-of-a-rumor\"\u003ePassage of a Rumor\u003c\/a\u003e, Triple Canopy’s new series on how and why we talk about the value and potential acquisition of ephemeral works of art, edited with Lemon.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eLigon’s work is included in numerous permanent collections, including those of Art Institute of Chicago; Baltimore Museum of Art; Carnegie Museum of Art in Pittsburgh; Centre Pompidou in Paris; Los Angeles County Museum of Art; Metropolitan Museum of Art in New York; Museum of Contemporary Art in Chicago; the Museum of Modern Art in New York; the National Gallery of Art in Washington, D.C.; Philadelphia Museum of Art; San Francisco Museum of Modern Art; the Guggenheim Museum in New York; Tate Modern in London; and Walker Art Center in Minneapolis.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eSpecial thanks to Luhring Augustine, New York for its generous support.\u003c\/p\u003e","brand":"Triple Canopy","offers":[{"title":"Default Title","offer_id":42882580906241,"sku":"","price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0634\/7931\/6737\/products\/151008_ligon_edition_image.jpg?v=1653417999"},{"product_id":"keep-away-from-the-window","title":"Keep Away From the Window, 2014 by Robert Gober","description":"\u003cdiv class=\"material\"\u003e\n\u003ch5\u003eHandmade book with cast glass and color photographs\u003cbr\u003e8-1\/2\" × 6-5\/16\" × 1-1\/2\"\u003cbr\u003eEdition of 20 with 4 artist’s proofs\u003cbr\u003eSigned, dated, and numbered by the artist\u003cbr\u003eBookbinding by Judith Ivry and glassmaking\u003cbr\u003eby Deborah Czeresko\u003cbr\u003eTitled in collaboration with Lynne Tillman and\u003cbr\u003epublished on the occasion of Triple Canopy’s 2014 benefit\u003cbr\u003eCourtesy of the artist and Matthew Marks Gallery\u003c\/h5\u003e\n\u003ch5\u003eFor more information, please write to \u003ca href=\"mailto:development@canopycanopycanopy.com\" target=\"_blank\"\u003ecesia@\u003cwbr\u003ecanopycanopycanopy.com\u003c\/wbr\u003e\u003c\/a\u003e.\u003c\/h5\u003e\n\u003c\/div\u003e\n\u003cp\u003eTriple Canopy is pleased to announce a new edition by artist Robert Gober, published on the occasion of the magazine’s upcoming benefit honoring novelist, short-story writer, and critic Lynne Tillman.\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eKeep Away From the Window\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e(2014) is a handmade book with cast glass. Gober, who came to prominence in the mid-1980s, makes meticulously crafted sculptures which often refer to domestic objects and personal encounters.\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eKeep Away From the Window\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eis titled after a snapshot taken by Gober of a sign hung on a window near his studio; the photograph is included on the front and on the inside of the edition. Gober has encased the neighborhood scene in the intimate form of a book, creating an object that appears to be simple until the viewer holds and opens it and is drawn closer to the window.\u003c\/p\u003e\n\u003cp\u003eTillman explains how the edition came about: “Bob told me he wanted to make a book-like sculpture. He had, we remembered, also supplied the cover image for my last novel,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eAmerican Genius, A Comedy\u003c\/em\u003e. I suggested having a block instead of paper or pages. Bob said, How about glass? Terrific, I thought. He showed me a photo he’d taken of a window not far from his studio, with a sign in it: ‘Keep away from the window!!!’ I loved it, and we both wanted it on the cover. From my point of view, there wasn’t a need for a title, because that was a great one. Then it was decided that a variation of that image would appear on the back inside cover, behind the glass.”\u003c\/p\u003e\n\u003cp\u003eRobert Gober lives in New York. A major retrospective of his work,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eThe Heart Is Not a Metaphor\u003c\/em\u003e, is on view at the Museum of Modern Art, New York, until January 18, 2015. Gober represented the United States at the 2001 Venice Biennale and has had solo exhibitions at The Museum of Contemporary Art, Los Angeles; the Walker Art Center, Minneapolis; the Serpentine Gallery, London; and the Museum für Gegenwartskunst, Basel. In 2007 his work was the subject of a retrospective exhibition at the Schaulager, Basel.\u003c\/p\u003e\n\u003cp\u003eSpecial thanks to Matthew Marks Gallery for its generous support.\u003c\/p\u003e","brand":"Triple Canopy","offers":[{"title":"Default Title","offer_id":42882595815681,"sku":"","price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0634\/7931\/6737\/products\/TripleCanopy-Gober-2014-B.jpg?v=1653418131"},{"product_id":"magic-time","title":"Magic Time, 1975\/2014 by Cindy Sherman","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003ch5 class=\"material\"\u003eToned gelatin silver print\u003cbr\u003e 5\" × 3 1\/2\" (image); 7\" × 5\" (sheet)\u003cbr\u003e Edition of 20 with 4 artist’s proofs\u003cbr\u003e Signed, dated, and numbered by the artist\u003cbr\u003e Titled by Lynne Tillman and published on\u003cbr\u003e the occasion of Triple Canopy’s 2014 benefit\u003cbr\u003e Courtesy of the artist and Metro Pictures\u003c\/h5\u003e\n\u003ch5\u003eThis edition is sold out.\u003c\/h5\u003e\n\u003cp data-mce-fragment=\"1\"\u003eTriple Canopy is pleased to announce a new edition by Cindy Sherman, published on the occasion of the magazine’s 2014 benefit honoring novelist, short-story writer, and critic Lynne Tillman.\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eMagic Time\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eis a photograph taken early in the artist’s career, in 1975; it is associated with a series of twenty-three self-portraits that tracks a gradual transition of the artist’s persona from a bookish girl to glamorous vamp.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eTitled\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eMagic Time\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eby Tillman, the work is emblematic of Sherman’s larger interests in artifice and the creation of identity, which the artist has explored through makeup, costume, setting, and pose, and in recent years through digital photography. Tillman explains how the edition came about: “Cindy selected three pictures, earlier works, from which I could choose. I decided on the girl\/woman I called, in my mind, ‘the flapper.’ Then I titled it\/her\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eMagic Time\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003ebecause her expression, makeup, and outfit suggested a desire to live out a fantasy.”\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eSherman has been creating work since the mid-1970s and in 2012 was the subject of a retrospective at the Museum of Modern Art, New York. This year her work is featured in group shows at the Museum of Modern Art Fort Worth, Texas; the Stedelijk Museum, Amsterdam; the J. Paul Getty Museum, Los Angeles; me Collectors Room\/Olbricht Foundation, Berlin; and the Kunstmuseum Wolfsburg.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eSpecial thanks to Metro Pictures for its generous support.\u003c\/p\u003e","brand":"Triple Canopy","offers":[{"title":"Default Title","offer_id":42882639986945,"sku":"","price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0634\/7931\/6737\/products\/Sherman-Edition-Thumbnail.jpg?v=1653418804"},{"product_id":"untitled-use-it-or-lose-it","title":"Untitled (Use It or Lose It), 2014 by Barbara Kruger","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cdiv class=\"material\"\u003e\n\u003ch5\u003eArchival pigment print\u003cbr\u003e15 3⁄4\" x 20 3⁄4\" x 1 3⁄8\" (framed)\u003cbr\u003eEdition of 10 with 2 artist’s proofs\u003cbr\u003eStamped by the artist\u003cbr\u003eTitled by Lynne Tillman and published on\u003cbr\u003ethe occasion of Triple Canopy’s 2014 benefit\u003cbr\u003eCourtesy of the artist\u003c\/h5\u003e\n\u003ch5\u003eFor more information, please write to \u003cmeta charset=\"utf-8\"\u003e \u003ca href=\"mailto:development@canopycanopycanopy.com\" target=\"_blank\"\u003ecesia@\u003cwbr\u003ecanopycanopycanopy.com\u003c\/wbr\u003e\u003c\/a\u003e.\u003c\/h5\u003e\n\u003c\/div\u003e\n\u003cp\u003eTriple Canopy is pleased to announce a new edition by Barbara Kruger, published on the occasion of the magazine’s upcoming benefit honoring novelist, short-story writer, and critic Lynne Tillman. Kruger, who earlier in her career worked as a designer for publications such as\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eHouse and Garden\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eand\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eMademoiselle\u003c\/em\u003e, eventually employed her graphic sensibility to criticize the commercial messages propagated in mass media and the underlying power structures. Produced in the artist’s signature palette of black, white, and red,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eUntitled (Use It or Lose It)\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003ecuttingly reframes a trite aphorism and, more broadly, the language of advertising. Kruger’s works have circulated as billboards, large-scale murals, posters, prints on city buses, and, less commonly, as editions. For the past twenty years, Kruger has also created immersive installations that employ “room wraps” and multi-channel video works.\u003c\/p\u003e\n\u003cp\u003eTillman explains how the edition came about: “Barbara asked me to give her a number of sentences or phrases, which I did. I sent a list. But I knew, once I’d thought of it, that she’d go for: Use It or Lose It. It seemed perfect, because of the wordplay and its being an often-used phrase with many possible meanings.”\u003c\/p\u003e\n\u003cp\u003eA conceptual artist, designer, and writer, Kruger has been making art since the early 1960s. Kruger’s work was recently the subject of a major solo exhibition at Modern Art Oxford. Her work is part of group shows this year at the Seattle Art Museum; Museum of Fort Worth, Texas; the Hammer Museum, Los Angeles; and the Los Angeles County Museum of Art. Kruger currently resides in Los Angeles, where she serves on the faculty at UCLA.\u003c\/p\u003e","brand":"Triple Canopy","offers":[{"title":"Default Title","offer_id":42882646212865,"sku":"","price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0634\/7931\/6737\/products\/TripleCanopy-BarbaraKruger-2014-B.jpg?v=1653418935"},{"product_id":"oro","title":"ORO, 2014 by Louise Lawler","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv class=\"material\"\u003e\n\u003ch5\u003eFujiflex print mounted on aluminum and plywood\u003cbr\u003e7 5\/8\" × 6 1\/8\"\u003cbr\u003eEdition of 20 with 4 artist’s proofs\u003cbr\u003eSigned, dated, and numbered by the artist\u003cbr\u003ePublished on the occasion of Triple Canopy’s 2014 benefit\u003cbr\u003eCourtesy of the artist and Metro Pictures\u003c\/h5\u003e\n\u003ch5\u003eThis edition is sold out.\u003c\/h5\u003e\n\u003c\/div\u003e\n\u003cp data-mce-fragment=\"1\"\u003eTriple Canopy is pleased to announce a new edition by Louise Lawler, published on the occasion of the magazine’s 2014 benefit honoring novelist, short-story writer, and critic Lynne Tillman.\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eORO\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eis a photograph of an embroidery by the Italian artist Alighiero Boetti called\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eNon Parto Non Resto (I Won’t Leave I Won’t Stay)\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e(1987), as seen at Christie’s 2014 Post-War \u0026amp; Contemporary Art auction in London.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eSince the 1980s Lawler has been using photography to investigate the lives of art objects and how meaning is inscribed onto a work as it moves through contexts as varied as the auction house, private home, gallery, museum, or storage facility. With\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eORO\u003c\/em\u003e, Lawler embeds within a photograph a work by Boetti, an artist who shares her interest in shifting forms and meanings. The edition’s title calls attention to the graphic and conceptual wordplay in\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eNon Parto Non Resto\u003c\/em\u003e, which consists of the letters of its title arranged vertically in four columns. If read horizontally, the piece also contains the word\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eoro\u003c\/em\u003e, Italian for “gold,” twice. Lawler’s title makes a nod to\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eNon Parto Non Resto\u003c\/em\u003e’s recent auction appearance.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eTillman explains how the edition came about: “I gave the prompt ‘embedded’ to Louise. I told her I believed that, to some extent, all of her work is about embedding, the layering of art within art (which includes another sense of ‘appropriation’), the various politics of embedding.”\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eLawler’s work was the subject of a recent retrospective, “Adjusted,” at the Museum Ludwig, Cologne. This past summer Metro Pictures, New York presented “No Drones,” an exhibition of the artist’s recent work. Lawler will present a solo exhibition at Sprüth Magers, Berlin in November. Her work will also be featured in upcoming group shows at Museum für Kunst \u0026amp; Gewerbe, Hamburg; La Panacée, Paris; Grimaldi Forum, Monaco; and the Museum of Contemporary Art, Roskilde.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eSpecial thanks to Metro Pictures for its generous support.\u003c\/p\u003e","brand":"Triple Canopy","offers":[{"title":"Default Title","offer_id":42882649948417,"sku":"","price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0634\/7931\/6737\/products\/DSCF0097_CROP_FINAL.jpg?v=1653419003"},{"product_id":"pointing-machines","title":"Pointing Machines, 2013 by Triple Canopy","description":"\u003cp\u003e \u003c\/p\u003e\n\u003ch5\u003eReplicas of an antique basin stand in 3D-printed plastic polymer and mahogany\u003cbr\u003e32\" × 10 ½\" each\u003cem\u003e \u003c\/em\u003e\n\u003c\/h5\u003e\n\u003ch5\u003ePigmented inkjet print\u003cbr\u003eEdition of 3 with 2 APs\u003cbr\u003e22 ½\" × 15\"\u003cbr\u003ePublished by Triple Canopy\u003c\/h5\u003e\n\u003ch5\u003ePigmented inkjet print\u003cbr\u003eEdition of 3 with 2 APs\u003cbr\u003e15\" × 22 ½\"\u003cbr\u003ePublished by Triple Canopy\u003c\/h5\u003e\n\u003ch5\u003ePigmented inkjet print\u003cbr\u003eEdition of 3 with 2 APs\u003cbr\u003e15\" × 22 ½\"\u003cbr\u003ePublished by Triple Canopy\u003c\/h5\u003e\n\u003ch5\u003eFor more information, please write to \u003cmeta charset=\"utf-8\"\u003e\n\u003ca href=\"mailto:development@canopycanopycanopy.com\" target=\"_blank\"\u003edevelopment@\u003cwbr\u003ecanopycanopycanopy.com\u003c\/wbr\u003e\u003c\/a\u003e.\u003c\/h5\u003e\n\u003cp\u003e\u003ca href=\"http:\/\/canopycanopycanopy.com\/contents\/pointing_machines_whitney_biennial\"\u003e\u003cem\u003ePointing Machines\u003c\/em\u003e\u003c\/a\u003e is Triple Canopy's contribution to the 2014 Whitney Biennial.\u003cspan\u003e \u003c\/span\u003e\u003cem\u003ePointing Machines\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eis named after the simple eighteenth-century measuring tool for reproducing sculpture in stone or wood by means of a system of adjustable rods and needles.\u003c\/p\u003e\n\u003cp\u003eThis pair of replicas is based on an antique basin stand (front) now in the collection of the\u003cspan\u003e \u003c\/span\u003e\u003ca href=\"http:\/\/metmuseum.org\/collections\/search-the-collections\/16976\" target=\"_blank\"\u003eMetropolitan Museum of Art\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003eand once owned by Colonel Edgar William and Bernice Chrysler Garbisch. The handcraft mahogany replica (middle) was fabricated by Frank B. Rhodes, a furniture maker and the grandson of the Garbisches. The polymer plastic replica (rear) was fabricated by the New York University Advanced Media Studio, using a 3-D printer. In\u003cspan\u003e \u003c\/span\u003e\u003cem\u003ePointing Machines\u003c\/em\u003e, Triple Canopy asks how the meaning of artworks shifts as they are commissioned, made, collected, disowned, replicated, photographed, exhibited, and published, taking into account the role of circulation systems as varied as the Metropolitan Museum of Art and eBay.\u003c\/p\u003e\n\u003cp\u003eThe installation is part of an issue of the magazine, also titled Pointing Machines, that continues the reproduction and circulation of the displayed objects beyond the museum’s walls, and includes essays, artist projects, discussions, and performances to be published and presented throughout 2014.\u003c\/p\u003e","brand":"Triple Canopy","offers":[{"title":"Basin Stands","offer_id":42882690089217,"sku":"","price":0.0,"currency_code":"USD","in_stock":false},{"title":"Chestertown Maryland I","offer_id":42882690121985,"sku":"","price":0.0,"currency_code":"USD","in_stock":false},{"title":"Chestertown Maryland II","offer_id":42882690154753,"sku":"","price":0.0,"currency_code":"USD","in_stock":false},{"title":"Chestertown Maryland III","offer_id":42882690187521,"sku":"","price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0634\/7931\/6737\/products\/basin-stands-touched.jpg?v=1653419578"},{"product_id":"a-spectacle-and-nothing-strange","title":"A Spectacle and Nothing Strange, 2011-2012 by Eve Fowler","description":"\u003cp\u003e \u003c\/p\u003e\n\u003ch5\u003eLetterpress poster\u003cbr\u003e28\" × 22\"\u003cbr\u003eFrom a series of 100\u003cbr\u003eCourtesy of the artist\u003c\/h5\u003e\n\u003cp data-mce-fragment=\"1\"\u003eFrom Eve Fowler’s\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eA Spectacle and Nothing Strange\u003c\/em\u003e, a series of letterpress posters emblazoned with words from Gertrude Stein. This poster was on display during Triple Canopy’s 2014 marathon reading of Stein’s\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eThe Making of Americans\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eAll proceeds will benefit female writers commissioned by Triple Canopy.\u003c\/p\u003e","brand":"Triple Canopy","offers":[{"title":"1","offer_id":42882698117377,"sku":"","price":250.0,"currency_code":"USD","in_stock":false},{"title":"2","offer_id":42882698150145,"sku":"","price":250.0,"currency_code":"USD","in_stock":false},{"title":"3","offer_id":42882698182913,"sku":"","price":250.0,"currency_code":"USD","in_stock":false},{"title":"4","offer_id":42882698215681,"sku":"","price":250.0,"currency_code":"USD","in_stock":false},{"title":"5","offer_id":42882698248449,"sku":"","price":250.0,"currency_code":"USD","in_stock":true},{"title":"6","offer_id":46556741959937,"sku":"1","price":250.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0634\/7931\/6737\/products\/TripleCanopy-EveFowler-WORDSDOINGASTHEYWANT.jpg?v=1755195201"},{"product_id":"untitled-juniper-veneer","title":"Untitled (Juniper Veneer), 2013 by Virginia Overton","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cdiv class=\"material\"\u003e\n\u003ch5\u003eEastern red cedar\u003cbr\u003e19\" × 12\" (21 ⅞\" × 14 ⅞\" framed)\u003cbr\u003eEdition of 16 with 4 APs\u003cbr\u003ePublished by Triple Canopy\u003cbr\u003eCourtesy of the artist and Mitchell-Innes \u0026amp; Nash\u003c\/h5\u003e\n\u003ch5\u003eFor more information, please write to \u003cstrong\u003e\u003cmeta charset=\"utf-8\"\u003e \u003ca href=\"mailto:development@canopycanopycanopy.com\" target=\"_blank\"\u003edevelopment@\u003cwbr\u003ecanopycanopycanopy.com\u003c\/wbr\u003e\u003c\/a\u003e\u003c\/strong\u003e.\u003c\/h5\u003e\n\u003c\/div\u003e\n\u003cp\u003eTriple Canopy is pleased to present a new artwork edition by Virginia Overton, published on the occasion of the magazine’s 2013 benefit honoring the artist and critic Brian O’Doherty. Overton is known for installations that place scavenged materials and those common to the manual trades into site-responsive configurations. An edition of sixteen, Overton’s\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eUntitled (Juniper Veneer)\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eexpands on Overton’s recent work on the production and migration of wood veneer in the US, which was exhibited in 2013 at Mitchell-Innes \u0026amp; Nash and in 2012 as a billboard installation in her hometown of Memphis, Tennessee. “The works’ scavenged, repurposed materials and their single source allude to societal shifts, like the steady transformation of American farmland into exurbs, a change stalled in recent years by a dismal housing market,” Andrew Russeth wrote of Overton’s exhibition in GalleristNY.\u003c\/p\u003e\n\u003cp\u003eOverton lives and works in Brooklyn. She has presented solo exhibitions of her work at Kunsthalle Bern (2013); Mitchell-Innes \u0026amp; Nash (2013); The Kitchen, New York (2012); The Power Station, Dallas (2012); Freymond-Guth, Zurich (2011); and Dispatch, New York (2010). Her work is currently on view at the Westfälischer Kunsteverein, Munster, Germany.\u003c\/p\u003e","brand":"Triple Canopy","offers":[{"title":"Default Title","offer_id":42882718695681,"sku":"","price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0634\/7931\/6737\/products\/Overton-Cedar-Under-Glass-sfw-zoom.jpg?v=1653420291"}],"url":"https:\/\/store.canopycanopycanopy.com\/collections\/fees-products.oembed?page=4","provider":"Triple Canopy","version":"1.0","type":"link"}