The first monograph on the New York based artists’ collaborative known for its socio-political art practice. Organised by former group members in keeping with the methods and aims Group Material employed, the book charts the origins, processes, developments, projects and contexts of the group’s activities, and draws heavily from Group Material’s archive, including original documents, photographs, drawings, correspondence, artefacts, anecdotal information and texts.

In May 1968, demonstrations against the French government spread across Parisian universities, and then to factories and other workplaces, resulting in a general strike of eleven million workers that brought the country to a virtual standstill.

Images by Colter Jacobsen.
Stories by Jane Bowles and Denton Welch.

American artist Kay Rosen has been exploring the possibilities of words as images for over 25 years. She delights in the small shift; the subtle change that subverts meaning and reveals the unexpected.

This is the first monograph on the artist, edited and by artist Harrell Fletcher, with a discussion between Fletcher and White Columns director Matthew Higgs, and an introduction by Patterson-Carver

For the third in the Familiars series, David Musgrave has chosen a little-known novella left unfinished by Kafka and concerning a man who comes home to find that two bouncing plastic balls have invaded his home.

Words by Oscar Wilde, Art by Gareth Jones

Brian Wilson: An Art Book is a reader on Brian Wilson’s life and work written from a contemporary art perspective by artists and leading art writers.

For her edition of The Canterbury Tales, Marvin Gaye Chetwynd has selected her favourite tales and produced a heavily illustratred, collaged book that mixes Medieval and contemporary imagery, and includes the following tales:

The riotous and colorful artwork of famed catholic nun and educator Corita Kent.

In May 1968, thousands of workers and students took to the streets of Paris, provoking an unprecedented wave of strikes, walkouts and demonstrations.

"Girls are powerful": the ‘70s feminist posters of See Red Women’s Workshop.

House flags are a mix of striking, abstract designs and charming, hand\\\-sewn motifs and were flown on boats of all sizes from

It's hard to believe that there was a time when digital photography didn't dominate the industry and every town and city had a photo lab where you would get your films processed.

In the revolutionary fervor of 1968, activists beat a path to London's Poster Workshop.

From the 1950s onwards, football match programmes regularly featured Face In The Crowd competitions - crowd photographs with a lucky face circled.

Social media handles before the internet: a window into a unique subculture that prefigures online identities.