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Infinity knuckle ring, one size. Just enough gauge for you to see it on the finger, but not feel it.

Hand carved of clear quartz, these just cover the earlobes, about 1" at the widest point. The "mechanics" are visible, 18k gold vermeil interior studs. Sold in pairs.

Cotton bandana or handkerchief or pocket square or neck scarf, dyed by ALR. 15" x 15".

Cotton bandana or handkerchief or pocket square or neck scarf, dyed by ALR. 15" x 15".

LL, LLC's signature coiled ring in tumbaga (gold/copper blend), a double spiral band.

NB: LL, LLC's double spiral rings fit one size small, ie. Size 7 fits like a 6. Please order accordingly.

NB: Please note this is a digital product. Once your order is processed, you will be emailed a PDF with install instructions. Should you desire hard mailing, please include the instruction with your order.

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Given the most commonly used criteria of *utility* for software, it’s not surprising that the screensaver is a debased form. It does nothing, it says nothing and it takes you nowhere. Instead it offers a quiet, even ambient portrait of a system — a simple image, a complex algorithm, and an ever-changing picture of their interaction.

Still there may be something to doing nothing. The computer, Alan Turing’s universal machine tirelessly capable of emulating the behavior of any other tool, is finally given a rest. After three minutes or so of nothing, the screensaver kicks in and the software produces a silently reconfiguring image of a system falling into and out of phase, automatically generating a fleeting picture of interference and coordination on your computer screen. Perhaps there is something left to save.

(Text courtesy O-R-G.)

NB: Please note this is a digital product. Once your order is processed, you will be emailed a PDF with install instructions. Should you desire hard mailing, please include the instruction with your order.

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A recent opinion piece in The New York Times (“Scorched Earth” by Robert L. Park) eulogized the political death of what was derisively called “Al Gore’s Screensaver.”

Since his vice presidency, Gore has actively advocated The Trius Project — a satellite to be put into orbit around the Earth on a geosynchronous path (at position Lagrange 1) which would send back live images of both the whole Earth and the full Sun. This project was intended to feed a series of real-time displays, installed as screensavers on computers in U.S. public schools.

Al Gore woke up one morning wondering if it would be possible to beam a live continuous image of the full Earth back from space. And, would that image inspire people with the urgent need to care for our planet much as the 1972 Apollo 17 portrait of the whole Earth had crystallized the Ecology movement? According to NASA, this picture (better known as The Blue Marble) is the most widely distributed photograph in existence. The image offers a portrait of the Earth as a small, self-contained whole system floating alone in the infinite nothing of space.

(Text courtesy O-R-G.)

NB: Please note this is a digital product. Once your order is processed, you will be emailed a PDF with install instructions. Should you desire hard mailing, please include the instruction with your order.

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While living with William Burroughs at the Beat hotel on Gît-le-Coeur, Paris, and with the aid of Cambridge mathematician Ian Somerville, poet Brion Gysin designed a simple paper cylinder with periodic apertures surrounding a bare light bulb placed on a rotating turntable at 78 rpm.

The resulting flickering light repeats at a constant frequency between 8 and 13 Hz matching the brain’s alpha-waves present in deep relaxation, such as drifting into sleep. When a viewer closes their eyes, sits close to the machine, and the turntable is started, the flickering light induces waves of color and repeating geometric patterns that form and re-form in the mind’s eye. Ian Somerville described the experience in a letter to Gysin:

Visions start with a kaleidoscope of colors on a plane in front of the eyes and gradually become more complex and beautiful, breaking like surf on a shore until whole patterns of color are bounding to get in. After awhile the visions were permanently behind my eyelids and I was in the middle of the whole scene with limitless patterns being generated around me.

Unlike a pharmacological trip, the experience ends when the user opens their eyelids. Gysin called his vision machine for closed eyes the Dreamachine.

(Text courtesy O-R-G.)

NB: Please note this is a digital product. Once your order is processed, you will be emailed a PDF with install instructions. Should you desire hard mailing, please include the instruction with your order.

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Two signals of varying frequency and phase result in a perpetual infinity, drawing and redrawing over and over. The familiar shapes are called Lissajous curves after mathematician Jules Antoine Lissajous and his “beautiful machine” of 1855.

Devised to draw a picture of two superimposed systems falling into and out of phase, the machine was constructed from a pair of tuning forks placed at right angles, each with a mirror attached. A light source is focused through a lens, bouncing off the first onto the second and projecting to a large screen. As the tuning forks are struck, simple vibrations move the mirrors in a regular oscillating pattern. The projected image forms the strange and beautiful curves of a Lissajous figure.

(Text courtesy O-R-G.)

NB: Please note this is a digital product. Once your order is processed, you will be emailed a PDF with install instructions. Should you desire hard mailing, please include the instruction with your order.

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Dutch graphic designer Karel Martens has made clocks for years. Starting somewhere around 1968, Karel attached new faces to existing clock mechanisms to produce graphic compositions, which by their nature, are constantly changing. This screensaver works the same way.

Based on a wall clock designed by Karel for his exhibition at P! (New York), the screensaver software uses three yellow and blue spinning disks to display the hours, minutes, and seconds of the current time. It does very little, other than spin contentedly. But, on the way, the passing of time produces a collection of graphic arrangements as so many discrete moments.

Recently, it was suggested that Karel's persistent interest in clocks was a symptom of working on his own for many years and that a clock might just be a symbol for “the long gestation period of independent ideas.”

(Text courtesy O-R-G.)

Their classic pant in a straight leg, with pockets, in a black. Essential trouser staple.

NB on sizing: Pleats Please sizing is inherently flexible due to the nature of the fabric, which stretches generously. The primary difference between sizing is in length.

NB: These earrings are sold as singles.

Tumbaga (copper/gold blend) spirals that hang just below the lobes, in an illusion style. Posts and backs are sterling silver. 

LL, LLC's sterling silver, single spiral band, that can be intertwined with other silver spirals. This ring is deceptively simple, but has a ton of sculptural impact.

Tumbaga (gold/copper blend) single spiral band.

Bless's enduring silhouette. The material is super light, so they're easily worn high and cinched, or low and loose. An oversized fit for sure, but don't be put off by the sizing. These look excellent on most bodies, no matter the size. The fabric just makes them fall correctly. Unisex. 

Mineral washed for softness, hand-dyed with all-natural ingredients foraged from Ms. Reynold's home, travels, and who knows where else? Each hue is composed of, and extracted in an earth kiln, heated to specific temperature and applied at its most vibrant. The technique results in a dimensionality of color, lived in, but not overworked.

NB: Please note each ALR piece is one-of-a-kind; differences should not be taken as errors.

"Love Love Love Love"
"How do you spend your money?"
"How do you talk to the people you love?"

This handpainted sweatshirt includes a long rear hem with pre-raphaelite women.

Measurements (taken lying flat):
Chest (armpit to armpit) = 20"
Length (rear collar to hem) = 36.25"
Sleeve (neckline to hem) = 17"

NB: Each garment varies. Any anomalies should be understood as part of the design, not as errors.

Sold as a single. Approximately 1/4" diameter.

Handmade in Greece using traditional techniques, and one-of-a-kind. To hold your special items, or simply to look at in all its specialness.

Handmade in Greece using traditional techniques, and one-of-a-kind. To hold your special items, or simply to look at in all its specialness.

Veneer (or, alternately, Ve) is cultural critique via gesture, phenomena, documentation, and detritus. It's also the arithmetic of print and its possibilities, with an emphasis on technical minutia stretched to the edge of absurdity as its epistemological approach. Every issue holds secrets and gifts to the reader; cards, photos, posters, confessions. It will make you ask "why should I care?" And then you keep reading, because if you didn't care, you wouldn't care. This is tight stuff—freewheeling discipline that made an object worth keeping, and further evidence that intellectual curiosity will always always take you places you never thought relevant or possible. Quarterly.

Edition of 1000.

Tiny antique glass seed beads date from the 1800s and are woven with a peyote stitch. Black-plated steel pin. Unisex. Approximately 2.75" long.

Curator, writer and dealer Seth Siegelaub (1941–2013) is legendary for his promotion of Conceptual art in New York in the 1960s and ‘70s. Acknowledging the unusual scope and essentially unclassifiable nature of his manifold interests and activities, this volume shows how Siegelaub’s projects and collections are underpinned by a deeper concern with printed matter and lists as ways of disseminating ideas. The book’s chapters explore the various facets of and connections in Siegelaub’s work, from his groundbreaking projects with Conceptual artists and his research and publications on mass media and communications theories to his interest in handwoven textiles and non-Western fabrics.

It also highlights his collecting activity, which culminates in a unique ensemble of books on the social history of textiles and a textile collection comprising over 750 items from around the world. The survey also reflects on current practices through contributions by contemporary artists, such as Mario Garcia Torres and writer Alan Page, who co-created a new work inspired by Siegelaub’s bibliographic project on time and causality. With essays by art historians and curators, a previously unpublished conversation between Siegelaub and artist Robert Horvit and an annotated chronology, this comprehensive survey pays homage to one of the most distinctive characters in 20th-century exhibition-making.

Text courtesy D.A.P.

Arts for Living offers an alternative, multifaceted history of an iconic cultural institution, The Abrons Arts Center. Located in New York City’s Lower East Side, the center was designed by Prentice and Chan, Ohlhausen, and built during the crisis-ridden 1970s as a community art center with educational facilities for a local low-income population. A rare interview with architect Lo-Yi Chan that elucidates the design process as well as essays by Alan Moore on the East Village art scene that arose out of the 1970s fiscal crisis and Kim Förster on pedagogical programs in architecture for youth in New York are accompanied by a color-photo essay by Jason Fulford depicting the current social life of the arts center. Designed by Geoff Han, and including original archival documentation, Arts for Living is an important architectural case study of a public space designed to foster community life in a multiethnic, changing neighborhood.

(Text via RAM Publications)

Primary Information is reprinting the seminal book, Fantastic Architecture, making the book widely available for the first time since it was originally published: first in 1969 by Droste Verlag in German (with the title Pop Architektur) and later in 1970 by Something Else Press as Fantastic Architecture. Edited by Dick Higgins and Wolf Vostell, this artist’s book/anthology explores the boundaries between pop art and architecture through writings and projects by key artists and thinkers of the 1960s and earlier—from John Cage and Buckminster Fuller to Kurt Schwitters and Joseph Beuys.  It will retain the book’s unique design, specifically its Mylar inserts, which add unique depth and elaborate the publication’s content. Edition of 3000.

Contributors to this publication are Ay-O, Joseph Beuys, Erich Buchholz, Pol Bury, John Cage, Philip Corner, Jan Dibbets, Robert Filliou, Buckminster Fuller, Geoffrey Hendricks, Richard Hamilton, Raoul Hausmann, Michael Heizer, Jan Jacob Herman, Bici Hendricks, Dick Higgins, K.H. Hoedicke, Hans Hollein, Douglas Huebler, Milan Knizak, Alison Knowles, Addi Koepcke, Franz Mon, Claes Oldenburg, Dennis Oppenheim, Gerhard Rühm, Diter Rot, Carolee Schneemann, Kurt Schwitters, Daniel Spoerri, Frances Starr, Jean Tinguely, Ben Vautier, Wolf Vostell, Lawrence Weiner, Stefan Wewerka. 

Text courtesy Primary Information.

Stand Up Comedy gift cards can be delivered both by email and traditional mail with a physical card. Your digital card is emailed immediately, and will contain instructions to redeem at checkout.

If you would also like a physical card hard mailed, we are happy to do so. Simply include your request in the Notes section (along with any personalized messages) when checking out. 

Click on the gift card image (to your left); the next window will allow you to make your purchase in any denomination.

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NB:
No additional processing fees.
Tax-free (like all purchases on our site).
No expiration.

Published in conjunction with an exhibition at Kunstverein München, this catalogue is presented as an integral part of the show, augmenting it through the presentation of subjects, aspects, and themes which are better suited to the printed medium or demand another kind of involvement. Anne-Mie Van Kerckhoven’s works involve painting, drawing, digital media, and video, and reflect her fascination from a female point of view with the representation of women in mass media, the connections between sex and technology, different knowledge systems, and the unconscious. Besides numerous works, projects, and images, the book includes insightful explanations by the artist.

Please read more about the artist's show AMVK (castillo/corrales, Paris, FR, Sept 2015), organized by Yale Union (Portland, OR).

Text courtesy Idea Books

Essays on the work of Los Angeles-based artist John Knight. With Anne Rorimer, Dan Graham, Benjamin H. D. Buchloh, Kim Gordon, Jay Sanders, Marie-Ange Brayer, Birgit Pelzer, Isabelle Graw, Alexander Alberro, Andre Rottmann. For specific, in-depth discussion on the artist and his oeuvre, go here.

By the director Richard Maxwell of New York City Players (NY)*. A practical, and poetically written guide to theater—direction, actors and acting, process, stimulus, and philosophy in making works for stage. Compactly made and very fun to read, the physical manifestation of the book is kind of a concise representation of the prose style, and, in some ways, Maxwell's approach to stagecraft. A book for those skeptical about live performance, or for those that are interested in a deeper understanding of the "why" behind it all.**

*Maxwell and actor Bob Feldman performed a reading of the book at Stand Up Comedy, June 2015.
**There's a great review on Amazon about this book, it goes ":-)))").

Artist Alix Vollum works under many guises. At the moment, her most visible might be here. This newsprint booklet mimics the alternative LA Weekly, highlighting the most visually arresting sections, its ads. Vollum reworks the signifiers, creating her own (reams and reams of) text and reflecting back the imagery into a pleasurable cloud of hedonistic mumbo jumbo. It's both a tempting reminder into the numbing glory of the marketplace, and a warning against its voodoo seductions. Looking at this is kind of like sniffing a popper. Signed edition of 500.

Made by hand, these dolls are soft and flexible, but with a certain weight to them. Their blank faces express a certain universality. Approximately 18"-18.5" tall (stand not included).

Please note: Your doll may come in one of the following colors: Light Stonewash, Medium Stonewash, or Dark Denim. Your doll may be clothed in a dress, pants, or shirt.

Veneer (or, alternately, Ve) is cultural critique via gesture, phenomena, documentation, and detritus. It's also the arithmetic of print and its possibilities, with an emphasis on technical minutia stretched to the edge of absurdity as its epistemological approach. Every issue holds secrets and gifts to the reader; cards, photos, posters, confessions. It will make you ask "why should I care?" And then you keep reading, because if you didn't care, you wouldn't care. This is tight stuff—freewheeling discipline that made an object worth keeping, and further evidence that intellectual curiosity will always always take you places you never thought relevant or possible. Quarterly.

The Gardens of Pixar, Chinua Achebe, Christopher Okigbo, Chirs Abani, Nnorom Azuonye, Michael Echeruo, Okey Ndibe, Michael Mbabuike, Chike Obi, Residents of Yellowstone County Riverbed vs. Exxonmobil Oil, A. Clifford Edwards, A. Christopher Edwards, John W. Edwards, Chevrolet Cobalt 2009 SS, Wave-adaptice modular vessels, Uluburun shipwreck stowaway house mouse, Vases, Vaccines and antibiotics in colds. Edition of 1000.

Veneer (or, alternately, Ve) is cultural critique via gesture, phenomena, documentation, and detritus. It's also the arithmetic of print and its possibilities, with an emphasis on technical minutia stretched to the edge of absurdity as its epistemological approach. Every issue holds secrets and gifts to the reader; cards, photos, posters, confessions. It will make you ask "why should I care?" And then you keep reading, because if you didn't care, you wouldn't care. This is tight stuff—freewheeling discipline that made an object worth keeping, and further evidence that intellectual curiosity will always always take you places you never thought relevant or possible. Quarterly.

About touch, and being bound. Reiki, laundry laborers, Esperanto, instructions for putting things together, an entire section in Braille that's shockingly meditative (for non-Braille readers), Manganese significance for humanity across the ages, graphs and symbols and sets - they touch, too. There's magnet in this one. Edition of 1000.

Prism of Reality, a publication about art—how its made, who makes it, how its read, why its made—in a concise, but in-depth format of two essays, two conversations, and four artist-written reviews. 

With Ian James on moving mass and space in recession times; Jon McCurley in conversation with Steve Kado on traffic in Toronto. Reviews by Greg Hayes, Nick Kramer, Lakshmi Luthra, Matt Siegle on Fiona Connor, JJ Peet, K8 Hardy, Peter Molyneux. Hand silkscreened cover by Josh Mannis. 

Film in print. From the celebrated director Owen Land (nee George Landow) (1944-2011), American filmmaker. Irreverent, intellectual, dangerous. Designed by Kaisa Lassinaro.

Commissioned by Kunstverein on the occasion of its first anniversary and the artist's exhibition. Solakov (Sofia, BG) has handwritten comments in apparently empty spaces, at weird levels that require movement and seeking on the part of the viewer. The catalogue functions as key to the physical presentation, but gives any reader a different way "in"; an imagined space, at a different time. Edition of 100. 

Morgan Fisher (CA) is a filmmaker and visual artist. His body of work has dismantled the process and artifice of filmmaking, even as it further presents avenues for critical dialogue around the avant-garde and conceptual histories of visual representation. His concerns have followed the changing trajectory of culture, as the medium shifts, and as new forms of language and expression become prominent. But always with a logic behind the exposition - whether through self-imposed (or not) rules, the uses of technology, and the limits of the vehicle. There is perhaps no filmmaker that better elucidates the imperative of medium as content and content as medium. But with such a sense of irascible pleasure, too. No tone of pedantry, only a kind of joy one gets from a set of instructions well given and gladly followed.

For further exposition, and insight into style, see Yale Union's (Portland, OR) program Andersen & Fisher (strictly on the filmic works of Fisher and Thom Andersen).

Writings is Fisher's work from 1975 to the present, on his own films, paintings, the work of others (Carl Andre, Andy Warhol, Blinky Palermo, Ad Reinhardt, Edgar G. Ulmer, Alfred Hitchcock), transcripts, and narrations. With a highly detailed bibliography 1969-2012 and biography 1974-present. 

With Sabeth Buchmann, Natascha Sadr Haghighian, Kim West. Published after several major exhibitions by the artist, it includes over 50 plates, and essays that highlight differing aspects and interpretations of her practice. The installation artist is known for a firm reading of both object and location, which can help in turn contextualize space. In English, French, German. Edition of 1200. 

Karl Nawrot lives in France (we think). Trained in graphic design with an abiding interest in typography and type experiments, but displays the habits of an illustrator. He grapples with the conventional tools and uses of his trade, in both the physical and conceptual sense. By building 3D models, maquettes, paper monuments, anything really, he builds new models for language. Imagination as communicator and storyteller.

Mr. Nawrot often builds his own tools and models; in this case, stencil discs that act as a mechanism for design abstraction, and a cheap option for record sleeve designs. This book shows the beginning and the end. It's hard to say what's a scan, what's a photo, and what's printed. Edition of 500. 

Made by Scanlan for his 2009 exhibition at castillo/corrales, the artist has re-conceived formative economic texts by Thorstein Veblen, Joseph Schumpeter, Milton Friedman, and Edward Said as a kind of epic poem. The original essays range from anti-capitalist analyses to colonialism to the advent of American big business, newly contextualized by Scanlan to address instead the concerns of artists and the state of creative production now. By making these small, significant alterations, Scanlan shifts points—what would it mean to discuss contemporary culture in purely economic terms, think of "markets" as neighbors, or the artist as entrepreneur? A fresh, lyrical approach to subject matter that's often stubbornly pushed to wayside. Edition of 500. 

Ian Hamilton Finlay (1925-2006) was an artist, poet, and gardner. His work often emphasized the uses of language, applied through the practices of typography, philosophy, and concrete poetry. Wild Hawthorne Press (his publishing imprint) and Little Sparta (the garden he created with Sue Finlay) are the most well-known of long-term works. His preference for neoclassical themes and references can feel exhilaratingly anachronistic, but his deeply physical sensibilities place the works directly in the temporal world. Finlay found a way to ask the "big questions"—what is nature? what is culture?—and in the asking, needed no answers.

All original writings by Alec Finlay, Anne Moeglin-Delcroix, Michael Charlesworth, Marjorie Perloff, Kenneth Goldsmith, Stephen Scobie. Made in conjunction with the exhibition Ian Hamilton Finlay: A Selection of Printed Works (2010-11) (Marfa Book Co. Gallery, Marfa, TX). Design by Flint Jamison.

There is a very good Wiki page dedicated to German artist Hans-Peter Feldmann here. It makes a series of good, clear observations that describe his work well. 

The next in this artist's book series offers a chaotic compendium of movie stills, photojournalism, ads, amateur photos, pornography, art, scientific imagery, archival imagery, found photographs and more. Feldmann’s touch is in the sequencing. Sometimes its stories, sometimes only associations. Narratives are broken then fused, but there’s always the palpable energy of our times. 

(Text below from New Documents)

Some years ago, Will Holder and Alex Waterman proposed to Robert Ashley that musicians and non-musicians might produce new versions of his operas, by way of typographical scores. The bulk of this book is a result of that proposal: scores for Dust (1998) and Celestial Excursions (2003). These operas' characters have, until now, been solely produced by and are the stories exchanged between Ashley and his "band" (singers Sam Ashley, Joan La Barbara, Thomas Buckner, and Jacqueline Humbert); in landscapes (technological, imaginary, acoustic, organisational, sonic, ocular) produced by "Blue" Gene Tyranny, Tom Hamilton, David Moodey, Cas Boumans, and Mimi Johnson—the result of a 30-year relationship. As such, any "scores" were written for this intimate readership. It hadn't been considered that any one outside this "band" might produce this work.

The scores for Dust and Celestial Excursions are preceded by a selection of Ashley's work, from 1963 to 2008, drawing attention to the varying relations between instruction and score, and the tones of instructional address. Working with these scores gave us a better sense of how each one produces a specific mode of decision-making, telling us what to put on the pages of the scores, for any reader who follows.

Yes, But Is It Edible? is the fourth in a series of publications produced with or by Will Holder and Alex Waterman that address a musicological perspective on scoring speech and the role of printed matter in collective forms of reading and writing: Agape (Miguel Abreu Gallery, 2007); Between Thought and Sound (The Kitchen, 2008); and The Tiger's Mind (with Beatrice Gibson; Sternberg Press, 2012).

Co-presented with the Western Front, Vancouver. Edition of 2000.

It's one of those books that holds much more than you might think, as the compactness of it fools you. Great re-prints of images even on the newsprint pages. It makes you think a little of Ways of Seeing (John Berger). Made in conjunction with the exhibition New Gravity (Overduin & Co., September-October 2014), organized by Eli Diner and Olivian Cha. Essays by Heinrich von Kliest, Diner, Angie Keefer, Cha. Artists in the show: Frank Benson, Judith Hopf, Angie Keefer, Kitty Kraus, Mahony, Oliver Payne, Chadwick Rantanen.

Wear as sterling half-moon studs or layered over circular steel pieces. Also available in Steel/Silver. Approximately .5" d, sterling posts.

Bronze rings with one point, a sort of asymmetrical polygon. Great for stacking or pairing with other metals and gems. 

Sold as a single. Approximately 1/4" diameter.

Multidisciplinary artist Chris Evans lives and works in London, UK. With Penelope Curtis, Marina Vishmidt, Tirdad Zolghadr. Ostensibly a survey of the artist's work, with expository essays and further detail around the circumstantial thinking behind specific pieces. 

Cast in bronze or silver. A strong piece. Unisex.