"Pioneer Works Press, in partnership with The Song Cave, is pleased to present the release of CHARAS: The Improbable Dome Builders, by Syeus Mottel (2017), a fascinating account of six ex-gang members who broke ground to construct a geodesic dome on a vacant lot in the shadow of the Manhattan Bridge after a 1970 meeting with the celebrated and revolutionary architect R. Buckminster Fuller, also known as Bucky. Originally published in 1973, this republication speaks to the issues at the heart of the CHARAS project as gentrification seems to multiply faster than communities can work to preserve themselves against it. The book acts as a record to highlight ways people have united to activate empty spaces before gentrification. As a group, CHARAS was interested in physically altering the housing conditions in their immediate neighborhood, the Lower East Side. Influenced by Bucky's teachings, the young men of CHARAS began a period of devoted study to solid geometry, spherical trigonometry, and the principles of dome building. Following this period, CHARAS developed a program that encouraged community autonomy and the reclaiming public space. More than simply a documentation of the project, the book offers stories, profiles, interviews, and images, and the group's process from their intensive study to the obstacles they faced while physically constructing domes."--pioneerworks.org

"Pioneer Works Press, in partnership with The Song Cave, is pleased to present the release of CHARAS: The Improbable Dome Builders, by Syeus Mottel (2017), a fascinating account of six ex-gang members who broke ground to construct a geodesic dome on a vacant lot in the shadow of the Manhattan Bridge after a 1970 meeting with the celebrated and revolutionary architect R. Buckminster Fuller, also known as Bucky. Originally published in 1973, this republication speaks to the issues at the heart of the CHARAS project as gentrification seems to multiply faster than communities can work to preserve themselves against it. The book acts as a record to highlight ways people have united to activate empty spaces before gentrification. As a group, CHARAS was interested in physically altering the housing conditions in their immediate neighborhood, the Lower East Side. Influenced by Bucky's teachings, the young men of CHARAS began a period of devoted study to solid geometry, spherical trigonometry, and the principles of dome building. Following this period, CHARAS developed a program that encouraged community autonomy and the reclaiming public space. More than simply a documentation of the project, the book offers stories, profiles, interviews, and images, and the group's process from their intensive study to the obstacles they faced while physically constructing domes."--pioneerworks.org

Gentrification is reshaping cities worldwide, resulting in seductive spaces and exclusive communities that aspire to innovation, creativity, sustainability, and technological sophistication. Gentrification is also contributing to growing social-spatial division and urban inequality and precarity. In a time of escalating housing crisis, unaffordable cities, and racial tension, scholars speak of eco-gentrification, techno-gentrification, super-gentrification, and planetary-gentrification to describe the different forms and scales of involuntary displacement occurring in vulnerable communities in response to current patterns of development and the hype-driven discourses of the creative city, smart city, millennial city, and sustainable city. In this context, how do contemporary creative practices in art, architecture, and related fields help to produce or resist gentrification? What does gentrification look and feel like in specific sites and communities around the globe, and how is that appearance or feeling implicated in promoting stylized renewal to a privileged public? In what ways do the aesthetics of gentrification express contested conditions of migration and mobility? Addressing these questions, this book examines the relationship between aesthetics and gentrification in contemporary cities from multiple, comparative, global, and transnational perspectives.

College Geometry is divided into two parts. Part I is a sequel to basic high school geometry and introduces the reader to some of the important modern extensions of elementary geometry- extension that have largely entered into the mainstream of mathematics. Part II treats notions of geometric structure that arose with the non-Euclidean revolution in the first half of the nineteenth century.

Utopia or Oblivion is a provocative blueprint for the future. This comprehensive volume is composed of essays derived from the lectures he gave all over the world during the 1960’s. Fuller’s thesis is that humanity – for the first time in its history – has the opportunity to create a world where the needs of 100% of humanity are met. “This is what man tends to call utopia. It’s a fairly small word, but inadequate to describe the extraordinary new freedom of man in a new relationship to universe — the alternative of which is oblivion.” R. Buckminster Fuller. Description by Lars Muller Publishers, courtesy of The Estate of Buckminster Fuller

Unseen photos of rebels, outsiders, construction workers and more: celebrating the distinctive gay male gaze of Karlheinz Weinberger This landmark entry in the lifework of Zürich photographer Karlheinz Weinberger gathers more than 200 never-before-published vintage photographic prints that were rediscovered in 2017. This unique collection pairs images of Weinberger's most famous subjects, the "Halbstarke"--a loosely organized group of Swiss "rebels" in the late 1950s and early 1960s, carousing at local carnivals and on a camping trip--with a much more private side of Weinberger's oeuvre: solo portraits of men from the late 1950s through the mid-1970s, whom he invited into his makeshift studio in the rooms of the apartment he shared with his mother. The men in these portraits--construction workers, street vendors, bicycle messengers, outsiders--span a spectrum of fully clothed, arms-crossed poses to campy and flirtatious, fully nude and reclined, while others mimic art historical postures. All of these images, though, reveal a palpable tenderness between photographer and subject, offering an expansive, uncritical take on the male form in an era when being photographed was not the casual, ubiquitous record it is today. Though not a professional photographer (he worked as a warehouse stock manager), Weinberger captured his subjects with a distinctly gay male gaze, both carnal and artistic, and this collection is certain to earn his work a larger following and appreciation. Born in 1921, Karlheinz Weinbergerwas a Swiss photographer whose work predominantly explored outsider cultures. Between 1943 and 1967 Weinberger published photos of male workers, sportsmen and bikers in the gay magazine Der Kreisunder the pseudonym of "Jim." In the late '50s and early '60s he concentrated on Swiss rock 'n' roll youth, whom he photographed with both tenderness and a hint of irony. Weinberger placed little emphasis on exhibiting his work; his first comprehensive show took place only in 2000, six years before his death.

Pattern-Thinking' reassesses the work of Buckminster Fuller?unique hybrid between theoretician, architect, designer, educator, inventor, and author?as advancing contemporary models of design- research, practice, and pedagogy. Drawing extensively on Fuller?s archive, the book follows his unique process of translation between the physical and conceptual dimensions of design, to redefi ne our understanding of the relationships between geometry, structure, language, and intellectual property.00Rather than being organized around a chronology of distinct narratives, Pattern-Thinking follows these parallel explorations as the basis for Fuller?s artifacts and inventions. In the space between lines, models, words, and patents, it traces his ambition to measure physical experience in an ever- expanding pattern of relationships, while coordinating these into a conceptual network of words and concepts that shape the basis for his thinking. Advocating a multidisciplinary and political perspective, Fuller?s transversal logic expands the knowledge base of contemporary models of design, which seek to find broader participation and to address new publics.

This reprinting of Korine's first novel presents fragments of a portrait in multimedia: print, photographs, drawings, news clippings, handwriting, a poem, attempted diagrams, clip art; but mostly text, including hard-luck stories, off-and-on-colour jokes, script-scraps, found letters, free rhymes, drug flashbacks and other scenes, exploring the world of show-biz with feet set lightly in the black humours of the real ol' world. This excretion of the danglers of public life would make William Burroughs sigh and turn the page, at least.

Art is big business, with some artists able to command huge sums of money for their works, while the vast majority are ignored or dismissed by critics. This book shows that these marginalized artists, the "dark matter" of the art world, are essential to the survival of the mainstream and that they frequently organize in opposition to it. Gregory Sholette, a politically engaged artist, argues that imagination and creativity in the art world originate thrive in the non-commercial sector shut off from prestigious galleries and champagne receptions. This broader creative culture feeds the mainstream with new forms and styles that can be commodified and used to sustain the few artists admitted into the elite. This dependency, and the advent of inexpensive communication, audio and video technology, has allowed this "dark matter" of the alternative art world to increasingly subvert the mainstream and intervene politically as both new and old forms of non-capitalist, public art. This book is essential for anyone interested in interventionist art, collectivism, and the political economy of the art world.

The most comprehensive portrait of art criticism ever assembled, as told by the leading writers of our time. In the last fifty years, art criticism has flourished as never before. Moving from niche to mainstream, it is now widely taught at universities, practiced in newspapers, magazines, and online, and has become the subject of debate by readers, writers, and artists worldwide. Equal parts oral history and analysis of craft, What It Means to Write About Art offers an unprecedented overview of American art writing. These thirty in-depth conversations chart the role of the critic as it has evolved from the 1960s to today, providing an invaluable resource for aspiring artists and writers alike. John Ashbery recalls finding Rimbaud’s poetry through his first gay crush at sixteen; Rosalind Krauss remembers stealing the design of October from Massimo Vignelli; Paul Chaat Smith details his early days with Jimmy Durham in the American Indian Movement; Dave Hickey talks about writing country songs with Waylon Jennings; Michele Wallace relives her late-night and early-morning interviews with James Baldwin; Lucy Lippard describes confronting Clement Greenberg at a lecture; Eileen Myles asserts her belief that her negative review incited the Women’s Action Coalition; and Fred Moten recounts falling in love with Renoir while at Harvard. Jarrett Earnest’s wide-ranging conversations with critics, historians, journalists, novelists, poets, and theorists—each of whom approach the subject from unique positions—illustrate different ways of writing, thinking, and looking at art. Interviews with Hilton Als, John Ashbery, Bill Berkson, Yve-Alain Bois, Huey Copeland, Holland Cotter, Douglas Crimp, Darby English, Hal Foster, Michael Fried, Thyrza Nichols Goodeve, Dave Hickey, Siri Hustvedt, Kellie Jones, Chris Kraus, Rosalind Krauss, Lucy Lippard, Fred Moten, Eileen Myles, Molly Nesbit, Jed Perl, Barbara Rose, Jerry Saltz, Peter Schjeldahl, Barry Schwabsky, Paul Chaat Smith, Roberta Smith, Lynne Tillman, Michele Wallace, and John Yau.