Products

Meme From the Internet...For yummy goodness or a laugh. 

Dimensions: 8in D x.5in Plate depth x 1 in H ( 5in. D footed plate)

Glass Bottle with Gold Lid

Contains 40qty Wooden Matches.

Striker on Side of Bottle for easy strike and light.

Size: A6. (4.5 x 6.25 inch) Blank on the inside. Kraft brown envelope included. All packaged in a clear plastic sleeve. Made in the USA.

Over the centuries our manipulation of the natural world has resulted in an explosion of synthetic dye production and application globally. To gain insight into the history of how folk practices have been lost and technical processes found, anthropologist and textile artist Lauren MacDonald explores a practice that is both ancient and wholly modern: coloring cloth.
The pursuit of color has long spurred economic and social contest, and through this deeply researched volume we explore the stories that the materials used to dye cloth tell us about our complex relationship to nature, our troubling ideas about progress and our understanding of power and labor.
In Pursuit of Color brings together historic techniques, archive photography, specimens and present-day events to tell the histories of some of the world’s most important dyestuffs. A 32-page supplement accompanies the volume, detailing practical applications and the chemistry behind dyeing processes. 
Lauren MacDonald (born 1990) is a Canadian-born multidisciplinary artist, designer and founder of the London, UK textiles studio Working Cloth. She has a background in material culture, textile science and fashion.

• Hardcover ‏ : ‎ 239 pages
• ISBN-13 ‏ : ‎ 9781954957008
• Item Weight ‏ : ‎ 1.72 pounds
• Dimensions ‏ : ‎ 7 x 1 x 9.5 inches

Size: 4.72 x 6.69inches. White Envelope. Foiled text on sustainably sourced board. From the award-winning Cloud Nine line. Blank inside to add your own message.

All of our cards are printed in the UK on high quality card stock, are blank inside and come cello wrapped with a neon yellow printed envelope 120mm x 170mm 0.017g

Our Interlocking Plaid Knee High sock is the essence of Fall with vibrant tones of rust orange and mustard yellow in a soft and cozy knit. We added extra inches to make sure this sock sits above the knee for pairing with short skirts, and is extra scrunch worthy for pairing with ankle boots. This accessory is a must-have for you and your bestie to channel your inner Serena and Blair.

. Recommended fit US W5.5-10. 

a Conversation Starter for all. Ceramic, Dishwasher Safe.

Dimensions: 8in D x 5in H x 8in W

Bowl Depth: 5in Base

Add a touch of texture and personality to your home decor with this one-of-a-kind Brown Iridescent Vase. Its glazed finish gives it a smooth, unique look while its neutral color makes it perfect for any room. This round vase is the perfect addition to any collection and is sure to stand out as an individual piece.

Light up your space with these iridescent tea candles inspired by sea creatures. With a playful and unique design, these candles are sure to add a touch of whimsy to any room. Perfect for any ocean lover or those looking for a quirky twist on traditional candles. Dive in and brighten up your home with these enchanting tea candles! Raku fired, unscented, refillable, beeswax candles. Made by hand by Anna Altman.

Treat your guests to Iroquois style! This colorful serving platter will make hosting get-togethers a breeze, whether you’re serving up dinner with a side of sass, or snacks with some spirit. Get ready to serve up some smiles!

Introducing the Irritable Owl Greeting Card, a product of the Archivist Gallery, known for their deep-rooted love for ink and paper. This card, designed by Archivist, is a testament to the brand's dedication to creating products that bring joy and generosity to gifting. The creative minds at Archivist Gallery have a knack for weaving heritage and legacy into their designs, making each piece unique and filled with character. Whether it's for a special occasion or just to express your sentiments, this greeting card is sure to leave a lasting impression.

Don't forget to add a tester! Take your lips on a tropical vacation! Our Island Coconut Lip Balm smells just like those summer months spent on the beach and keeps your lips hydrated for hours. Every Poppy & Pout lip balm is made with 100% natural ingredients and hand-poured into eco-friendly cardboard tubes! 🌼 100% NATURAL INGREDIENTS We only use ingredients that are 100% natural. No parabens, phthalates, or petrolatum. Our coconut oil is USDA certified organic and we are Leaping Bunny certified cruelty-free! 🌼 DOUBLE THE BALM Our lip balm tubes (0.3 oz) are twice the size of a standard lip balm 🌼 ABOUT POPPY & POUT We have been making our all-natural lip care products by hand in Idaho since 2014. Our lip balms are made from ethically sourced beeswax, organic coconut oil, and sunflower oil. We then add a hint of essential oils and/or natural flavor oils and a drop of Vitamin E. 🌼 100% Natural | Cruelty-Free (Leaping Bunny Certified) | Eco-Friendly

A6. Blank on the inside. Kraft brown envelope included. Packaged in a clear plastic sleeve. Size: 4.5" x 6.25".

It's Christmaaas! Enamel Pin Greeting Card

Our "It's Happening" card is letterpress printed on a vintage printing press. Perfect for your sister, brother, boyfriend, girlfriend, mom, dad or grandma! •Paper: Bright White, Tree-Free 100% Cotton Paper •Ink:Black •Envelope:Neon Orange •Size: 5.5" x 4.25" •Folded card, blank inside •Sealed in a cello sleeve

Archivist Gallery brings to you the 'It's not self-medicating' Greeting Card, thoughtfully designed by Zeichen Press. This Everyday Greeting Card stands as a testament to our love for ink and paper, and our dedication to heritage and legacy in printing. Each card we produce is a vibrant, playful celebration of creativity, crafted in collaboration with a community of talented artists. With Archivist Gallery, experience the joy and generosity of gifting, consciously.

Dashes of exotic spices in a bustling Italian pasticceria inspired this fragrant blend of cardamom, vanilla, clove, incense, and orange blossom. Our Escapist collection takes you to our favorite places in the world, places we’ve traveled to that have a permanent place in our olfactory memories. Double-wicked and housed in white textured boxes and screenprinted glass tumblers, this collection will tug at the heartstrings of minimalists around the world.

13 oz, screeprinted vessel, double wick, 2-piece rigid box

 Burn time: Up to 70 hours

Dashes of exotic spices in a bustling Italian pasticceria inspired this fragrant blend of cardamom, vanilla, clove, incense, and orange blossom. Elegant straight sided clear glass jars with modern minimalist labels. Perfect next to a bud vase filled with freshly picked blooms or your prettiest succulent on a mantle, nightstand, or coffee table. The brushed gold lids instantly make your candle travel-friendly.

7.5 oz jar with lid 

Burn time: Up to 50 hours 

Perfume any room with our new ultra-chic reed diffusers for a delightful botanical aroma without the flame. Perfect for your home office, powder room, or any space that needs that extra something something. Our custom made glass screenprinted Reed Diffuser bottles are packed in a two-piece textured paper tube. Includes wooden stopper and 8 rattan reeds. Lasts for approximately 4-5 months.

Our Reed Diffusers are DPG-Free, VOC-compliant, and phthalate-free. 

The dynamic geometrical patterns of Emilio Pucci; the dazzling trompe-l’œil effects of Roberta di Camerino; the pop sensibilities of Gianni Versace and Franco Moschino; the bold street-style prints of Iuter and Sunnei—these and countless other innovations have made Italian design a leading force in the history of 20th-century textiles.
This volume documents the history of Italian textiles from the beginning of the 20th century through to the present day, exploring their evolution in relation to the dominant styles of various periods. This is a history deeply interwoven with the birth of the totemic “Made in Italy'' concept, as textiles have significantly contributed to Italy’s international reputation as a bastion of high-quality fashion and design. Numerous Italian artists, fashion designers, product designers and companies have pioneered and popularized a vast range of manufacturing processes that incorporate local fabrics and innovative techniques.

Featuring sumptuous illustrations of finished fabrics, preparatory drawings and photographs, Italian Textiles compiles the country’s most notable design coups. Among the thematic sections in the book are those dedicated to scarfs, skirts, shirts, ties, wallpapers, tablecloths and various other fabricated objects.

Make a statement at your next event with this stunning Ivory Roses Cake stand. Not only will it be the centerpiece of your table, but you'll have all your guests talking about your impeccable taste. With its intricate roses design, this magnificent cake stand will ensure your desserts are served with a side of oohs and ahhs!

Our "I'm Sorry I Called You Old" Card is a letterpress printed on a vintage printing press. Paper: Bright White, tree-free 100% cotton paper. Ink:  Black. Envelope: Red. Size: 4.25" x 5.5". Folded card, blank inside. Sealed in a cello sleeve.

A stationery set for fans of the beloved San Francisco printer

San Francisco–based printer Jack Stauffacher’s (1920–2017) bold experiments in letterpress expanded the ideas of wood type’s formal possibilities. Born in San Mateo, California, Stauffacher began his study of printing at the age of 16 and went on to design and print outstanding books for 80 years. He was the owner and operator of Greenwood Press, located in the San Francisco Bay Area. After receiving a box of discarded wood type in 1966, Stauffacher began playing with the mismatched letterforms as a break from his daily work. His resulting typographic experiments, often featuring bold layers of letters in black, bright blue or red, are a testament to type’s more expressive capabilities. Stauffacher’s refined yet graphic sensibility brought him acclaim in the worlds of both traditional fine printing and modern art. Examples of his wood and metal type designs can be found in the San Francisco Museum of Modern Art and the Los Angeles County Museum of Art. This set of notecards and envelopes, each pair unique, displays Stauffacher’s abstract yet exquisite treatments of typography.

Elevate your dining experience with our vintage Japanese inspired blue and white plate. This beautifully designed plate will add a touch of elegance and tradition to any meal. Enjoy the unique and timeless style of Japan in your own home. Perfect for entertaining or everyday use.

7” x 3” Vase 

This Jasperware Ashtray is the perfect addition to any home. Made of high-quality jasperware, it is not only durable but also adds a touch of elegance to any room. Its deep dish design is great for holding ashes and its beautiful color makes it a stylish accent piece. Enjoy a stress-free smoking experience with this premium ashtray.

Introducing the Jasperwear Jug - a timeless piece for your home. Crafted with fine jasperware and an elegant design, this jug is not only a functional addition to your kitchen but also a work of art. Experience the luxury of premium craftsmanship and elevate your decor.

Also available in an Art Edition signed by Jean Nouvel and limited to 200 copies. With an art print of a sketch by Jean Nouvel of the Shenzhen Opera House and a custom-designed metal case.

An affordable, compact primer on the artist who drastically shifted the course of late 20th-century art

This reader provides a concise introduction to the widely popular yet oft-misunderstood artist Jean-Michel Basquiat. Guided by the steady hand of Basquiat scholar Larry Warsh, it is one of the few books of this kind to be directly approved by the artist’s estate and family: a notable distinction amid all of the buzz.
Jean-Michel Basquiat Handbook begins with a portrait of the young Basquiat, from his years as a precocious child in Brooklyn, to his rebellious teenagedom, to his meteoric rise in fame, to his tragic early death. The book then discusses the development of his groundbreaking style through the recurrent themes of his practice: urban life, the human figure, music and sports, to name just a few. The backend of the book provides a sampling of sketches from Basquiat’s notebooks, a chronology and incisive essays from scholars Henry Geldzahler and Henry Louis Gates Jr.

One of the first African American artists to reach international stature and wealth in the art world, Jean-Michel Basquiat (1960–88) was celebrated for his fusion of multicultural symbols, social commentary and distinctive graphic style. He has been the subject of numerous exhibitions across the globe, and his work is included in the collections of the Museum of Modern Art, New York, the Whitney Museum of American Art and the Broad Contemporary Art Museum, among many others.

The first book on Basquiat's ingenious uses of found objects and unconventional materials

 Bringing together a range of unconventional painted supports and found-object sculptures, Jean-Michel Basquiat: Art and Objecthood provides an innovative, in-depth look into the artist's sculptural practice. In addition to painting and drawing on everything within his domestic spaces--refrigerators, chairs, cabinets--Basquiat made use of discarded windows and doors, mirrors, wood boards and subway tiles in his earliest creations. In a 1985 interview with Becky Johnston and Tamra Davis, he explained: "The first paintings I made were on windows I found on the street. And I used the window shape as a frame, and I just put the painting on the glass part and on doors I found on the street."

 Jean-Michel Basquiat: Art and Objecthood borrows its title from the influential 1967 essay by renowned art historian Michael Fried, who critiqued Minimalism for its dogmatic separation between "art" and "object," arguing that its presentation of isolated objects as art was theatrics rather than a true art, which for Fried implied the unity of art and object. Invoking Fried's stance, this book invites viewers to consider the debate on art and objecthood as a lens through which to consider Basquiat's uses of objects. The book also demonstrates the extent to which these uses reveal his dedication to the struggle against social inequality and his profound engagement with the politics of race in the US.

The decoupage oyster trinket dish makes a perfect catchall for your jewelry or a decor piece around your home. 

Each trinket dish is handcrafted with care. The edge is trimmed in gold leaf paint with the back left natural. 

The shells measure approximately 3-4+ inches in length. As these shells were created by nature, they will vary in shape and size. There will be slight variations in print with each oyster. 

Details

• 100% Natural, Compostable Wool. Wool fill.
• Handmade in Kathmandu, Nepal. 
• Felt dyed with toxin free dyes.

Care

• Spot clean with cold water; air dry.

Toy Safety

Perfectly happy, calm and well-behaved pets make our tails wag. Our toys are meant to be played with and inevitably destroyed to satisfy your dog’s natural instincts - it helps build their confidence and well-being.

You know your pet best. We’ve posted measurements so you can ensure the toy’s size is perfect and safe for your pet. Our toys are filled with 100% natural wool. For dogs and toys, the safest way to play is with supervision. Your attention is the most important safety feature.

A collection of Jenny Holzer’s texts, presented as layout drawings for stone benches, that trace and illuminate our complex world

Published on the occasion of the exhibition Jenny Holzer: Light Line, a reimagining of the artist’s landmark 1989 installation at the Guggenheim Museum in New York, this artist’s book will provoke and inspire. Each page features a phrase chosen by Holzer from three of her text series—Truisms, Living and Survival—in the form of drawings she has used for many years to create her iconic stone benches. All interior pages are vellum, a physical and conceptual layering that invites novel readings of Holzer’s work. This unique volume extends her practice with a material presentation of real and imagined works that weaves new connections through its pages.

Holzer harnesses the power of words to convey joy, sorrow, contemplation, rage and everything in between. Her work presents writing—both her own and that of others—in an array of mediums, including electronic signs, plaques, paintings and stonework. Starting in the 1970s with her New York City street posters, and continuing through her more recent light projections, mobile LED signs and experiments with artificial intelligence, her practice rivals ignorance and violence with humor, kindness and courage. The public dimension is integral, and the surprising sites where her work appears range from city streets to stadium scoreboards, memorials, T-shirts and condom wrappers. The thought-provoking and indelible words she chooses highlight the pressing issues of our time.

Jens Quistgaard (1919–2008), considered one of the founders of Scandinavian Modern style, spent 30 years as chief designer at the American company Dansk Designs, resulting in more than 4,000 products. His design philosophy – that utilitarian, everyday items should function harmoniously – influenced his approach to everything from spoons and pans to crockery and pepper mills, and is as relevant today as it was half a century ago.

Quistgaard’s work is represented at major museums in Europe and the USA, including Design Museum Denmark, MoMA, New York, and the British Museum, London, with many of his designs still in production to this day. With never-before-seen sketches, archival photography, case studies, ephemera, and an illustrated inventory of his designs, this book delves deep into Quistgaard’s life and work to reveal his critical contribution to design history.

Size: 4.72 x 6.69inches. Neon Envelope. Printed in thermography. Razor sharp wit at it's very best! Blank inside to add your own message.

Philadelphia-based artist Jim Christensen's text-based pins reference the visual language and design of political pins from the 1920s.  Unlike those pins, Jim's words and intentions aim to unite rather divide.

Jim Christensen lives in Philadelphia. He has exhibited his sculpture and drawings at Electric Works, Yerba Buena Center for the Arts, Institute of Contemporary Art, San Jose and the College of Marin Art Gallery, amongst other places. He is the recipient of a Eureka Fellowship Award, and his work is included in the permanent collection of the M.H. De Young Memorial Museum. 

Philadelphia-based artist Jim Christensen's text-based pins reference the visual language and design of political pins from the 1920s.  Unlike those pins, Jim's words and intentions aim to unite rather divide.

Jim Christensen lives in Philadelphia. He has exhibited his sculpture and drawings at Electric Works, Yerba Buena Center for the Arts, Institute of Contemporary Art, San Jose and the College of Marin Art Gallery, amongst other places. He is the recipient of a Eureka Fellowship Award, and his work is included in the permanent collection of the M.H. De Young Memorial Museum. 

Jimi Hendrix Experience Think Multicolor Fountain Pen Limited Edition

The first comprehensive book on the surreal, queer and humorous photographic art of Jimmy DeSana, a central figure in New York's art and music scenes of the 1970s and '80s

 This is the first overview of the work of Jimmy DeSana, a pioneering yet underrecognized figure in New York's downtown art, music and film scenes during the 1970s and 1980s. The book situates DeSana's work and life within the countercultural and queer contexts in the American South as well as New York, through his involvement in mail art, punk and No Wave music and film, and artist collectives and publications.

 DeSana's first major project was 101 Nudes, made in Atlanta during the city's gay liberation movement. After moving to New York in 1973, DeSana became immersed in queer networks, collaborating with General Idea and Ray Johnson on zines and mail art, and documenting the genderqueer street performances of Stephen Varble.
By the mid-1970s, DeSana was a fixture in New York's No Wave music and film scenes, serving as portraitist for much of the period's central figures and producing album covers for Talking Heads, James Chance and others. His book Submission, made with William S. Burroughs, humorously staged scenes out of a S&M manual that explored the body as object and the performance of desire. DeSana was also an early adopter of color photography, creating his best-known series, Suburban, in the late 1970s and early 1980s. This body of work explores relationships between gender, sexuality and consumer capitalism in often humorous, surreal ways. After DeSana became sick as a result of contracting HIV, he turned to abstraction, using experimental photographic techniques to continue to push against photographic norms.

A6. Blank on the inside. Kraft brown envelope included. Packaged in a clear plastic sleeve. Size: 4.5" x 6.25"

Indoor Recess enamel pins are made of steel-plated zinc and enamel resin. Our custom pin backs bring a little touch of whimsy that only you will be privy to. Fasten to any cloth surface. Not recommended for leather or plastic. Wear them with pride, and if you’re keeping it on a jacket or bag, be sure to periodically check the fasteners to make sure it’s extra secure. Indoor Recess was born in Brooklyn. We love you.

Jiz Sticker Gay Water Bottle Sticker Laptop Sticker. Did you know that Jif was recently recalled? Thankfully, Jiz Was not. Enjoy Jiz as the safe and renewable alternative! High-quality vinyl sticker. Dishwasher safe. Lesbian approved. Indoor Recess stickers are made with high-quality vinyl right here in New York. They're dishwasher safe, re-stickable, weatherproof, and hilarious. Each sticker comes in limited edition packaging. One big and one small in a pack. 

Wake up with a cup of Joe... & Kamala!  This wheel thrown mug is made of earthenware clay and glazed with a glossy white glaze. Joe & Kamala decals, as well as some lovely decorative florals, are fired on and permanently affixed in the glaze.

Joe & Kamala are individually displayed on opposite sides of the mug so you can say "s'up?!" to one or the other with alternating sips.  

This mug is microwave and dishwasher safe. It is approximately 4" tall. Each mug is made by hand so you'll receive one similar, but perhaps not identical, to the one pictured.

Wake up with a cup of Joe... & Kamala!  This wheel thrown mug is made of earthenware clay and glazed with a glossy white glaze. Joe & Kamala decals are fired on along with some lovely decorative poppies and all are permanently affixed in the glaze.

One version has Joe & Kamala on opposite sides of the mug so you can say "hey" to one or the other with alternating sips.  The other version has Joe & Kamala together so you can say "s'up?!" to both at the same time. 

This mug is microwave and dishwasher safe. It is approximately 4" tall. Each mug is made by hand so you'll receive one similar, but perhaps not identical, to the one pictured.

All new Biden mug with multicolor floral decal design. This wheel thrown mugs is made of earthenware clay and glazed with a glossy white glaze. A Joe Biden decal is fired on, permanently affixed in the glaze and surrounded by floral decal decoration. It is dishwasher safe but we recommend washing by hand. 

Mug is approximately 4" h.  You will receive a mug similar, but perhaps not identical, to the one pictured. 

A photographic travelog of Meyerowitz’s yearlong journey across postwar Europe

In 1966, at the age of 28, photographer Joel Meyerowitz embarked on a journey that would take him to the United Kingdom, Ireland, Spain, France, Germany, Eastern Europe, Turkey and Greece. In total, he drove 20,000 miles through 10 countries and ended up taking 25,000 photographs. This trip was a transcendental experience and formative in shaping Meyerowitz's instinctive and brilliant identity that he is known for today. Europa 1966–1967 compiles a selection of photographs taken by Meyerowitz on his yearlong trip through Europe, offering an exciting glimpse of the “New Old World” that, having lately overcome the trauma of World War II, opened itself to modernity and progress. Meyerowitz witnessed societies in transition, stuck between dictatorship and economic blossoming. Yet he also documented unshakable cultural traditions, such as when he lived with a flamenco-performing family in Francoist Spain for six months. The strength and freshness of Meyerowitz’s gaze and the new codes that were captured in these pictures inspired the next generation of photographers.

Photographer Joel Meyerowitz (born 1938) began photographing redheads in 1978 against the contrasting blue backdrop of Cape Cod. The portraits from this period are collected in this new edition of Meyerowitz's 1991 photobook Redheads, featuring 16 additional images. After running an ad in the Provincetown Advocate, Meyerowitz began collecting the experiences of people who grew up with red hair, in addition to photographing them. Making up only two or three percent of the world’s population, their stories of schoolyard bullying and self-acceptance illustrate a broader narrative of growth and beauty.
Despite cultural and racial distinctions between redheads, the phenotypic association between the subjects brings a sense of familiality to the collection of portraits.
Meyerowitz describes how red hair and its reaction to light evokes a sense of the color film process. He is known for his transition to color film during a period of resistance to color photography. “My way of making portraits is not by getting down on my hands and knees, nor climbing high on a ladder, nor getting into bed with a celebrity,” Meyerowitz writes, “but simply standing eye to eye with anyone who has found their way to me, young or old. I need only one or two sheets of film and the patience to see it through.” This hardcover edition includes previously unseen portraits.

Color photography lovers, rejoice! Steidl has released a new photobook from American master, Joel Sternfeld. Collecting photographs taken while Sternfeld was contemplating a major health crisis, they capture Nags Head, on the Outer Banks of North Carolina, in peak, unself-conscious, Summer-of-1975 form. “Delaying surgery,” Sternfeld writes, “I had come to Nags Head, an old beach town floating in time, seeking a sense of temporal and spatial fluidity, a sense of oneirism. After about six weeks of intense work, my idyll was broken by a phone call: my brother Gabriel had died in an automobile accident in Colorado. I returned to New York; I never went back to Nags Head. Two out of my three brothers were now gone.” He grieved and stopped making photographs.

Eventually, he found his way to Rockaway Beach in Queens. “And then something happened: a different sense came over me, a heightened color awareness engendered perhaps by all the looking and thought I had given to color. At once, the ugly scene appeared beautiful to me.

The hues of the sand and the apartments were the perfect complements to the dusty blue of the sky. Seemingly disparate parts fused into a coherent whole. I made a photograph. Long ago, I had read of a phenomenon which might be described as ‘clear seeing in a clear light.’ Although I cannot now identify the source of this notion, I believe this was such a moment for me. At the time, I had no way of knowing it, but that photograph, made in despair, would eventually shape my entire practice.”

A newly expanded edition of Sternfeld’s popular portrayal of the High Line’s early days

With nine additional photos, a larger format and an expanded, up-to-date timeline, this is the new and revised edition of Joel Sternfeld’s Walking the High Line, which documents the overgrown elevated freight rail line above New York’s West Side before it was transformed into the cherished High Line public park in 2009.

In the dark days following the September 11 attacks in New York in 2001, Joel Sternfeld came to Gerhard Steidl with the hope of quickly making a book. For the previous two years Sternfeld had been photographing the abandoned railroad and working with a group, the Friends of the High Line, that wanted to save it and turn it into a park. Powerful real estate and political interests seeking to tear it down and commercially develop the land beneath it were using the chaos of the period to rush forward their plans. Steidl agreed―six weeks later there were finished books in New York. It was a small volume but it played a crucial role in allowing New Yorkers to see for the first time the beauty of a secret railroad in all the seasons.

“Every cowboy can instantly call up with fondness … the smell of cattle carried on a dusty wind across sagebrush and juniper, and the feeling of a good horse underneath you as you work together to keep a herd moving,” writes American photographer John Langmore. Langmore began cowboying in 1975 at the age of 12, the same year that his father, Bank Langmore, published the preeminent photo book The Cowboy. John spent 12 summers working across the west before transitioning to a more regulatory career.

Then, in 2012, John began a six-year project photographing 14 of the nation’s largest and most famous ranches in Nevada, Arizona, Texas, Nebraska, New Mexico, Oregon, Montana and Wyoming. Of all those who have photographed the American cowboy, John is one of the few who came to it first as a colleague and then as a photographer. This large landscape book features 90 tritone plates along with Langmore’s own poetic recollections of working as a cowboy. Open Range offers an unrivaled chance to witness a way of life that many dream of, but few experience.

Start your day with a cup of Good Trouble! It's our all new John Lewis mug with multicolor floral decal design. This wheel thrown mugs is made of earthenware clay and glazed with a glossy white glaze. A John Lewis decal is fired on, permanently affixed in the glaze and surrounded by floral decal decoration. It is dishwasher safe but we recommend washing by hand. 

Mug is approximately 4" h.  You will receive a mug similar, but perhaps not identical, to the one pictured. 

All new John Ossoff mugs with multicolor floral decal design. These wheel thrown mugs are made of earthenware clay and glazed with a glossy white glaze. A John Ossoff decal is fired on, permanently affixed in the glaze and surrounded by floral decals. They dishwasher safe but we recommend washing by hand. 

Mug is approximately 4" h.  You will receive a mug similar, but perhaps not identical, to the one pictured. 

Published for Jordan Casteel’s major New Museum show, Within Reach surveys her paintings exploring the nuances of Black subjectivity

In her large-scale oil paintings, New York-based artist Jordan Casteel (born 1989) takes up questions of Black subjectivity and representation by examining the gestures, spaces and forms of nonverbal communication that underpin portraiture. “There is a certain amount of mindfulness that it requires ... to be present with someone in a moment.” she explains. “I’ve always had an inclination towards seeing people who might be easily be unseen.”

Published for Casteel’s first solo museum exhibition in New York, this volume brings together 40 large-scale paintings from throughout her career, including works from the celebrated series Visible Man (2013-14) and Nights in Harlem (2017), along with recent cropped “subway paintings” and portraits of her students at Rutgers University-Newark. Whether depicting former classmates from Yale, nude and in serene repose; street vendors near her home in Harlem; anonymous New Yorkers huddled on the subway; or her own students, posed largely in domestic interiors among their personal belongings, she explores how both public and private spheres can serve as frames for an inner life.

This generously illustrated, oversized publication honors the larger-than-life scale of the artist's work. It is the first comprehensive monographic publication on Casteel’s work and includes texts by Dawoud Bey, Amanda Hunt and Lauren Haynes, and conversations conducted with the artist by Massimiliano Gioni and Thelma Golden.

Visionary Nature Edited with text by Stephanie Mayer Heydt. Edited with illustrated chronology by Audrey Lewis. Foreword by Rand Suffolk, Thomas Padon. Text by Ellen E. Roberts, Karli Wurzelbacher, Ara H. Merjian. Though Joseph Stella is primarily recognized for his dynamic Futurist-inspired paintings of New York, particularly of the Brooklyn Bridge, he was also compelled to express the powerful connection he felt to the natural world.

A stunning visual journey through the last vestiges of New York City’s artist lofts

Envied by artists and apartment hunters alike for their wide windows and open floor plans, New York City’s lofts were once manufacturing centers in the late 19th and early 20th century. As urban densification pushed industry into the suburbs, these buildings were left empty. Looking for cheap rents and ideal studios, artists struck bargains with landlords to live and work in commercially zoned spaces. By the 1970s, these same artists faced eviction as their landlords embraced the new wealthy clientele that seeped into neighborhoods such as SoHo, Tribeca and the Bowery. Enacted in 1982, Article 7-C of the Multiple Dwelling Law, better known as the “Loft Law,” allowed artists to obtain legal occupancy and rent stabilization. After discovering a map of the protected buildings, documentary filmmaker Joshua Charow embarked on the ambitious project of documenting them. Over two years, he rang hundreds of doorbells, interviewing over 50 artists still living in these lofts, and photographing them in their spaces, alongside their works in progress and the unique modifications they have made to the lofts to meet legal standards. This timely untold story paints a portrait of a bygone era of New York’s downtown art scene.

Artists include: Ken Jacobs, Flo Jacobs, Loretta Dunkelman, Katherine Liberovskaya, Phill Niblock, Gerald Marks, Martine Mallary, Michael Sullivan, Carmen Cicero, Joseph Marioni, Carolyn Oberst, Jeff Way, Chuck DeLaney, Joe Haske, Kimiko Fujimura, Steve Silver, Noah Jemison, Sumayyah Samaha, Bob Petrucci, Claire Fergusson, Gilda Pervin, Curtis Mitchell, Ellen Christine, Marsha Pels, Betsy Kaufman, Jennifer Charles, JG Thirlwell, Alex Locadia, Winkel, Anne Mason.

The first retrospective in 30 years on American maverick Donald Judd’s minimalist sculpture, architecture and furniture

Published to accompany the first US retrospective exhibition of Donald Judd’s sculpture in more than 30 years, Judd explores the work of a landmark artist who, over the course of his career, developed a material and formal vocabulary that transformed the field of modern sculpture.

Donald Judd was among a generation of artists in the 1960s who sought to entirely do away with illusion, narrative and metaphorical content. He turned to three dimensions as well as industrial working methods and materials in order to investigate “real space,” by his definition. Judd surveys the evolution of the artist’s work, beginning with his paintings, reliefs and handmade objects from the early 1960s; through the years in which he built an iconic vocabulary of works in three dimensions, including hollow boxes, stacks and progressions made with metals and plastics by commercial fabricators; and continuing through his extensive engagement with color during the last decade of his life.

This richly illustrated catalog takes a close look at Judd’s achievements, and, using newly available archival materials at the Judd Foundation and elsewhere, expands scholarly perspectives on his work. The essays address subjects such as his early beginnings in painting, the fabrication of his sculptures, his site-specific pieces and his work in design and architecture.

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Just Above Midtown, or JAM, was an art gallery and self-described laboratory for experimentation led by Linda Goode Bryant that foregrounded African American artists and artists of color. Open from 1974 to 1986, it was a place where an expansive idea of contemporary art flourished and debate was cultivated. The gallery offered early opportunities for artists recognized as pivotal figures in late-20th-century art—including David Hammons, Butch Morris, Senga Nengudi, Lorraine O’Grady and Howardena Pindell—as well as a nonhierarchical approach to art that welcomed artists without stylistic proscription.

Published in conjunction with the first museum exhibition to focus on this visionary gallery and its ongoing impact, Just Above Midtown: Changing Spaces showcases rarely seen material from JAM’s history—artworks, ephemera and photographs—that collectively document the gallery’s communal and programmatic activities. This richly illustrated, jacketed paperback catalog includes essays that contextualize JAM and consider its legacy, a conversation between Goode Bryant and Thelma Golden, Director and Chief Curator of the Studio Museum in Harlem, a complete exhibition chronology written by MoMA and Studio Museum staff with nearly 50 annotated entries, and excerpts from oral histories with JAM staff and artists conducted especially for this project.

All new Kamala Harris mug with multicolor floral decal design. This wheel thrown mug is made of earthenware clay and glazed with a glossy white glaze. A Kamala  Harris decal is fired on, permanently affixed in the glaze and surrounded by floral decals. It is dishwasher safe but we recommend washing by hand. 

Mug is approximately 4" h.  You will receive a mug similar, but perhaps not identical, to the one pictured. 

In 2002, Kara Walker was selected to represent the United States at the prestigious São Paulo Art Biennial. Curator Robert Hobbs wrote extended essays on her work for this exhibition, and also for her show later that year at the Kunstverein Hannover. Because these essays have not been distributed in the US and remain among the most in-depth and essential investigations of her work, Karma is now republishing them in this new clothbound volume.

Among the most celebrated artists of the past three decades, with over 93 solo exhibitions to her credit, including a major survey at the Whitney Museum of American Art, Walker is known for her tough, critical, provocative and highly imaginative representations of African Americans and whites reaching back to antebellum times. In his analysis, Hobbs looks at the five main sources of her art: blackface Americana, Harlequin romances, Julia Kristeva’s concept of abjection, Stone Mountain’s racist tourist attraction and the minstrel tradition.

Robert Hobbs (born 1946) has written more than 50 books and catalogs, focusing on such artists as Milton Avery, Alice Aycock, Lee Krasner, Robert Smithson and Kehinde Wiley. Since 1991 he has held the Rhoda Thalhimer Endowed Chair of American Art in the School of Arts, Virginia Commonwealth University. Since 2004 he has served as a visiting professor at Yale University.

From New York street artist to pop culture sensation: the essential, accessible guide to KAWS

The multidisciplinary artist KAWS is regarded as an emblem of postmodern art. Many consider him as the Andy Warhol of the 21st century. Throughout his career, KAWS’ work has spanned painting, sculpture and printmaking along with fashion, merchandise and toy production, blurring the lines between commercial and fine art. Despite the pervasiveness of his work, the life and career of KAWS is little understood by mainstream audiences and hotly contentious among those inside the art world. Insightful and engaging, KAWS Handbook connects the dots among the many facets of KAWS’ creative practice and sheds new light on one of contemporary art’s most impactful artists.
Brian Donnelly (born 1974), known by his professional moniker KAWS, is an American artist best known for his subversion of iconic cartoon characters and other figures from pop culture. For over 20 years, his work has been shown in public spaces around the world, as well as in exhibitions at the Brooklyn Museum, the Yorkshire Sculpture Park, the National Gallery of Victoria and the Art Gallery of Ontario, among many others.

Few artists have managed to bridge the gap between high and low culture as seamlessly as KAWS has since his career took off in the 1990s: his iconic cartoon-inspired designs have graced fashion collections, vinyl figurines, and skateboards as well as canvases sold for millions of dollars. Frequently portraying familiar figures such as Mickey Mouse and Spongebob Squarepants with cauliflower ears and X’ed-out eyes, KAWS employs a sophisticated dark humor throughout his work, exploring the relationship between art and consumerism.

American artist KAWS is one of the most famous living contemporary artists today. Renowned for his iconic visual language and larger-than-life sculptures, the artist draws on beloved pop culture icons to create a new and recognizable cast of characters of his own. The broad appeal of KAWS’ style has made his artwork accessible to collectors, museum visitors and the general public alike, and has led to collaborations with coveted global brands and immense commercial success.

KAWS: FAMILY, organized by the Art Gallery of Ontario, Toronto, marks the artist’s Canadian institutional exhibition debut with an array of his drawings, paintings, sculptures and selected products. The catalog features over 60 works from the past two decades, including installation photography; essays by Julian Cox, AGO Deputy Director and Chief Curator; and an interview with KAWS by Jim Shedden, AGO Curator of Special Projects and Director of Publishing. Together, this material provides new insights into KAWS’ influences and creative process as well as the impact his work has made across the spheres of fine art, pop culture, product design and fashion.

A graffiti artist since adolescence, Brian Donnelly (born 1974), known professionally by his moniker KAWS, received his BFA in illustration from New York’s School of Visual Arts in 1996. He has collaborated with brands such as Supreme, Nike and Comme des Garcons, and his work can be found in the collections of the High Museum of Art in Atlanta, the Modern Art Museum of Fort Worth, the Brooklyn Museum and the Museum of Contemporary Art in Los Angeles. KAWS lives and works in Brooklyn, New York.

Images of fantasy and fairy tales by a Danish master of illustration.

The Danish artist Kay Nielsen’s luminous interpretations of fairy tales and legends from around the world are among the most celebrated book illustrations of the 20th century, unsurpassed in their dramatic intensity and intricate detail. This book is the first to put his achievements in the context of a career that took him from studies in Paris to the Copenhagen theater, to galleries in London and New York, to the Walt Disney Studios, presenting fresh insights into his life and work as well as his materials and techniques. Dazzling reproductions of original watercolors and drawings from one of the premier collections of Nielsen’s work invite viewers to enter the enchanted world of an imaginative and supremely gifted artist.

Kehinde Wiley’s acclaimed World Stage series inserts into the language of old master portraiture the very ethnicities and ethnic iconography that western art has most excluded from it, or that western art has portrayed solely in colonial, Orientalist terms. Among the countries and continents he has previously depicted in this ambitious traveling epic are Brazil, Africa, China, India and Sri Lanka.

The rhetoric of Wiley’s paintings is powerful in its compositional candor, color palette and playfulness with constructions of visual meaning; as Paul D. Miller (DJ Spooky) notes, “Wiley’s canvas surfaces are a mirror reflection of America’s unceasing search for new meanings from the ruins of the Old World of Europe and Africa.” This volume includes a selection of new World Stage portraits, focusing on contemporary youth from Jewish-Ethiopian-Israeli, Jewish-Israeli and Arab-Israeli communities.

A complete survey of Marshall's prints from the 1970s to the present, with many previously unseen works

Kerry James Marshall is famed for his beautifully executed paintings that address the under-representation of the Black figure in the Western pictorial tradition. Though best known as a painter, Marshall has throughout his career also produced a vast graphic oeuvre that has been seldom seen and rarely documented. Marshall spent his youth building his craft in drawing and painting, but also in wood engraving and printing; by his mid-twenties, he recalls, "I could do woodcuts, etchings, aquatints." Most of his prints have been produced not in professional print workshops but by the artist, working alone in his studio. They range from images the size of postcards to his 50-foot-long, 12-panel woodcut Untitled (1998-99), to iterations of his ongoing magnum opus Rythm Mastr. And while some have entered prominent museum collections, many exist only in private collections or the artist's archive and are unknown to the public. This catalogue raisonné offers the first public account of these important works and the first in-depth study of the role of printed images and print processes in Marshall's work as a whole.
Kerry James Marshall was born in Birmingham, Alabama, in 1955, later moving to Los Angeles. He taught painting for many years at the School of Art and Design at the University of Illinois at Chicago. In 2013, he was named for the Committee on the Arts and the Humanities by President Barack Obama. In 2017, Marshall was included on the annual Time 100 list of the most influential people in the world. The National Cathedral in Washington, DC, is currently working with Marshall to create two new stained-glass windows. Marshall lives and works in Chicago.

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