7.5 × 10 inches, 304 pages, softcover
ISBN 978-1-941753-88-0

Design by IN-FO.CO
Published by Inventory Press

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"Rafael Lozano-Hemmer expands the very notion of what public art is and can be. His works are an invitation to consider how art can rewire our shared spaces and, ultimately, our shared future."
—Hans Ulrich Obrist, Curator

"Rafael Lozano-Hemmer is not just an artist. He is a visionary who combines heritage and technology. The final result is a profound message about our humanity."
—Marina Abramović, Artist


Border Tuner | Sintonizador Fronterizo documents Rafael Lozano-Hemmer’s participatory art installation composed of powerful search-lights forming bridges of light that opened live channels for direct communication across the U.S.-Mexico border. At a time of intense anti-immigrant rhetoric, militarized surveillance, and nationalist violence, the artwork connected the sister cities of El Paso, Texas, and Ciudad Juárez, Chihuahua, creating a platform for people to converge along the border to speak to one another and listen across the divide.

This volume features extensive documentation of the artwork and its activation by tens of thousands of people who gathered to honor the interdependence of life in the borderlands. The book’s ten essays, presented in both English and Spanish, critically examine the legacy of Lozano-Hemmer’s project within the wider frame of artistic production along the U.S.-Mexico border.

Edited by Michael Nardone and Edgar Picazo Merino, with contributions by Kerry Doyle, Tatiana Flores, Juan Luis Longoria Granados, Robin Greeley, Andrea Blancas Beltrán and Léon de la Rosa Carillo, Sergio Raúl Arroyo, Willivaldo Delgadillo, Lucía Sanromán, and Cuauhtémoc Medina. 

 

9.25 × 12.8 inches, 96 pages, hardcover
ISBN 978-1-941753-84-2

Design by Info and Updates
Co-published by Inventory Press, Speed Art Museum, Santa Barbara Museum of Art, & Asia Society Texas

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Outerworlds is the first monograph to trace the life and career of Iraq-born, Kentucky-based artist Vian Sora. Merging global art traditions, her paintings engage themes of war, exile, survival, and renewal through richly textured, emotionally charged compositions. Surveying a decade of artistic production, this volume follows Sora’s path from Baghdad to the American South, illuminating a practice shaped by both personal and geopolitical upheaval. Moving seamlessly between abstraction and figuration, her paintings draw on ancient iconography and lived experience to explore the layered complexities of identity. Sora’s work is at once intimate and political—a testament to transformation and resilience.

8.75 × 11.75 inches, 152 pages, hardcover
ISBN 978-1-941753-94-1

Design by Valentijn Goethals
Co-Published by Inventory Press, Kunsthal Gent, and Roma Publications

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In 2023, American artist Ben Thorp Brown opened Cura’s Garden, a long-term, immersive exhibition set in the medieval garden of Kunsthal Gent, a former Carmelite monastery. Expanding on the Roman myth of Cura, the project brings together a theatrical assortment of trees and other flora, fog, sculpture, and sound—elements that cohere into a dense, indeterminate sensorial experience. This richly illustrated volume, organized around the seasons, features vivid documentation across two years of the garden’s young life alongside linocut botanical prints by the artist’s mother, Cary Thorp Brown.

New essays by Laura McLean-Ferris, Laurie Cluitmans, Robert Wiesenberger explore the conceptual, formal, art historical, and affective valences of Cura’s Garden, and a roundtable conversation between Brown and Laura Herman, Jan Minne, and Valentijn Goethals considers the history and development of the project, from the artist’s 2019 film Cura, a precursor to the garden, through present concerns around the maintenance and unfolding nature of this site-specific work.

8.5 × 10 inches, 112 pages, hardcover
ISBN 978-1-941753-82-8

Design by IN-FO.CO

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In this monograph of recent Roger White paintings the artist returns to California for his subject matter.

"I grew up in Salinas and learned to paint by doing landscapes en plein air, so the body of work feels like an ambivalent return. Affection, distance, nostalgia, concern. Some of the scenes are personal: there’s my father, a family gathering, and friends in an apartment. Others, less so: a crowd at the beach, a scale model of a Spanish Mission, and the beaching of a whale. The backyard of the house seen from above, the one with the blue car, was my neighbors'. I took pictures when they were moving out. Dry grass, real estate, recycling bins, Honda Civic.”
–Roger White

Accompanying the images are two splendid essays by Helen Molesworth and Ross Simonini that illuminate connections and correlations that lay just beneath the surface of White’s deceptively straightforward canvases.

7.5 × 9 inches, 484 pages, softcover
ISBN 978-1-941753-81-1

Design by IN-FO.CO
Published by Inventory Press & Institute for Contemporary Art at Virginia Commonwealth University

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How can alternative organizations and traditional institutions learn from one another? How have exhibition platforms created space for artists to generate learning environments? How have these practices changed assumptions about art institutions and artistic production? How can we think about the economic, ecological, and institutional sustainability of all of these practices?

Living to Learn, edited by Noah Simblist of Virginia Commonwealth University, presents the work of over seventy artists, curators, collectives, and scholars who address contemporary art as a site of learning in the twenty-first century. Building on earlier histories of education as civic service for the common good, it focuses on the last twenty-five years while exploring the future of art education as a practice unfolding both in and beyond school. The book’s case studies reveal how innovations in education have a dynamic relationship with artistic practice, alternative arts organizations, universities, museums, and biennials.

7.75 × 9.5 inches, 124 pages, hard cover
ISBN 978-1-941753-83-5

Design by IN-FO.CO
Published by Inventory Press, San José Museum of Art & Kohler Arts Center

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Featuring selections from six major series to date as well as new work made in Laos, The Imaginative Landscape traces Pao Houa Her's ever-deepening exploration into concepts of home and belonging. In the exhibition and catalogue, she brings together formal and vernacular photographic languages, working in black-and-white and color photography that takes the form of lightboxes, wheat-pasted images, and video, in addition to traditionally framed images. Rooted in the experience of her Hmong community, an ethnic group indigenous to Laos, and shaped by family lore passed down by her elders, Her investigates the potential of photography to create nonlinear narratives, exploring construction in both physical form and metaphor.

Accompanied by essays on the work by co-curator Lauren Schell Dickens and Alexander Supartono, and an interview with the artist by co-curator ​​Jodi Throckmorton, this catalogue explores Her’s work in genres of portraiture, landscape, still life and vernacular, as she photographs herself and those people and places around her through the tinted lens of diasporic longing, where Minnesota and California become stand-ins for Laos, plastic florals replace living tropics, ersatz and real meld together.

7.5 × 9.45 inches, 580 pages, hardcover
ISBN 978-1-941753-89-7

Design by Nick Massarelli & Mark Owens
Published by Inventory Press & Vleeshal Center for Contemporary Art

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Grand Gestures is a visual overview of a decade of Amanda Ross-Ho’s career. Presented chronologically, it documents the artist’s techniques of scaling and replication, and the use of found objects, illustrating how she uses these methods to transform everyday items into works that explore themes such as loss, time, and preservation. Ross-Ho’s interest in manipulating perceptions of time and space, often through theatrical installations, reveals the relationship between art, labor, and systems of production. An essay by critic Catherine Taft examines Ross-Ho’s conceptual approach to archives, materiality, and time. By acknowledging the incompleteness of archives, including in her own, Ross-Ho integrates the inevitability of absence into her work, raising questions about how we document and preserve history.

A conversation between the artist and book editor Roos Gortzak offers additional insight into her work, labor, systems of production, and the making of this publication.

4.75 × 7.75 inches, 400 pages, softcover
ISBN 978-1-941753-53-8

Design by IN-FO.CO and Kevin McCaughey

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For anyone who wants to think graphically about the image's role today, this exploding book of ideas is essential reading. —Rick Poyner

Seeing <—> Making: Room for Thought both studies and presents the creative process of constructing ideas with images. By activating the techniques of montage, the book reveals a wide field of view and a space to engage new critical connection between a multiplicity of objects from the past and present. Realized through an intergenerational collaboration of three cultural producers committed to making theory visible, a transformative anthology of critical essays by Susan Buck-Morss anchors this kaleidoscopic project. Images and ideas sync with Buck-Morss’ perceptive texts on visual culture, history, politics, and aesthetics, fusing criticism with visual play and linking collective imagination and social action.

Building upon the methods and ways of seeing put forth by visual thinkers like Walter Benjamin and John Berger, designer Kevin McCaughey (Boot Boyz Biz), designer, editor, and publisher Adam Michaels (IN-FO.CO/Inventory Press), and renowned theorist Buck-Morss collectively assemble colliding material into new relation. What results is a (typo-) graphic articulation that thinks seriously about the stakes of ideation and reorients the space of the book in the service of a theory and philosophy that speaks the language of our image-based information age.

5.375 × 8.25 inches, 400 pages, softcover
ISBN 978-1-941753-71-2

Design by IN-FO.CO

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“Visual communication encompasses drawing, photography, three-dimensional modeling, and film; abstract and realistic forms, static and moving images, simple and complex ones as well. It extends to questions of visual perception such as the relationship between figure and ground, camouflage, moiré patterns, optical illusions, illusory motion, mirages, the persistence of vision, and afterimages. It includes every aspect of graphics, from the design of typographical fonts to newspaper page layouts, from exploration of the limits of word legibility to the techniques that facilitate the reading of texts. All these facets of visual communication share something in common: objectivity.”
—Bruno Munari

Design and Visual Communication—the first-ever English translation of Bruno Munari’s extraordinary Design e Comunicazione Visiva (1968)—remains an important guide to bridging design education and everyday life. Published after Munari served as visiting professor at Harvard’s Carpenter Center, Design and Visual Communication takes over fifty lessons, class materials, and even letters home in which he describes life in America, and transforms them into a book about the future of art, architecture, and design. Conceived as a living volume, the book was written as inspiration to current and future designers to push beyond the past, however recent, and develop new tools to see and understand tomorrow’s world.

The facsimile reprint is accompanied by new contextual annotations by Munari scholar and design historian Jeffrey Schnapp. These micro-interventions highlight the innovations that make this work as relevant today as when originally published.