In a new space for its fifth edition, the art book and zine fair renewed its focus on independent publishers and had a strong community ethos.
Ray Johnson’s exhibition at Matthew Marks is proof that the eccentric collage and mail artist’s works were never meant for gallery walls.
In her latest exhibition, Sara Cwynar probes our complicated relationship with image-saturated advertising.
Kristen Radtke’s graphic memoir uses photos and the death of her uncle as touchstones to illustrate parallel forms of decay and loss.
With appropriative text and visuals, the book is full of single-page mash-up vignettes of obtuse techno-speak and familiar graphics.
The See Red Women’s Workshop, which ran from 1974 to 1990, began with a newspaper ad calling for female visual artists “to combat images of the ‘model woman.’”
An exhibition at David Zwirner brings together the artist couple’s individual and collaborative autobiographic comics.
Gina Wynbrant’s comics are pleasantly uncomfortable and brash.
Dedicated mostly to female voices, the comics newspaper RESIST! was distributed for free at marches across the US on January 21.
Though revisiting the vinyl record is in danger of becoming little more than an act of nostalgia, ‘Total Records’ explores the art of the album cover within the context of our thoroughly modern practice of image sharing.
An exhibition explores how the remains of performance art memorialize the past and re-perform for new audiences.
The Ulises bookshop, which opened this past weekend in Philadelphia, focuses on books as a lens onto contemporary art.