This book of multivalent narratives began with a simple premise: the collection of sheets of paper—ripped from books—featuring multiple photographs and inlaid narratives. Across a decade of working on other projects involving pulling images apart from one another, excising them from the page and recontextualizing them as new sets, American artist Carmen Winant (born 1983) diligently collected disparate sheets, skimming them off the top of her other ongoing collections. The book that has resulted from that work is wide-ranging in terms of subject—with sheets depicting rabbinical study, dog training, surgical birth, methods of tantric sex, patterns of the sunset—yet specific in approach and application. Her constructed pages trouble how the idea of “theme” operates as the engine of a book, instead taking the act of arranging, both in discrete pages and as a whole, as its own meaningful subject.

Carmen Winant (born 1983) is an artist and writer based in Columbus, OH, where she is the Roy Lichtenstein Endowed Chair of Studio Art at Ohio State University. Winant’s recent projects have been shown at the Museum of Modern Art and the SculptureCenter, New York; Henie Onstad Kunstsenter, Oslo; Wexner Center of the Arts, Columbus; Kunsthal Charlottenborg, Copenhagen; and the CONTACT Photography Festival, Toronto. Winant’s recent artist books, My Birth and Notes on Fundamental Joy, were published by SPBH Editions, ITI Press, and Printed Matter, Inc. Winant’s work is included in the collections of the Museum of Modern Art, New York; Minneapolis Institute of Art; and the Henie Onstad Kunstsenter, Oslo. Winant was a recipient of a Guggenheim Fellowship in photography in 2019 and a Pew Center for Arts & Heritage grant in 2020. She currently holds an FCA Artist Grant and is the winner of the Images Vevey Book Award 2021/2022. Winant is the mother of two sons, Carlo and Rafa, who she shares with her partner, Luke Stettner.
Number of pages: 320
Type of printing: Offset

Saint Julien l'hospitalier Tome 2 - Claire Pedot
Le corps travesti - Michel Journiac
Eldorado maximum - Les commissaires anonymes
L'abécédaire d'un typographe - Gerrit Noordzij; Jost Hochuli
Red Horse - Sasha Kurmaz
In The Navy - Julien Kedryna
L'Abeille de Saint-Simon - Alice Brière-Haquet / Mai Li Bernard
Machiavel chez les babouins - Tim Ingold
Grilles - Zelda Mauger
La peinture c'est comme les pépites - Pierre Yves-Hélou + Tirage
Bande Annonce - Cinéma & Bande Dessinée - Coll.
Comment quitter la terre ? - Jill Gasparina, Christophe Kihm, Anne-Lyse Renon
Avec ce qu'il resterait à dire - Anne Maurel
Ar(t)chitectures situées - Étienne Delprat
Critique d'art n°55
Good Company - Paul Van der Eerden
ICCMHW - Atelier Choque Le Goff
Fluent - Laëticia Donval
interférence - 2 - maycec
Dans la Lune - Fanette Mellier
Berlin Design Digest
Aurore Colbert - Marie Mons
Clubhouse #14 - Colorama Books
š! #39 'The End' - coll.
IBM – Graphic Design Guide from 1969 to 1987
Dernier royaume - Quentin Derouet
L'internationale modique (AND 3) - J-M. Bertoyas
The Shelf - Journal 3
Dédale - Laurent Chardon
IMPROVISATION N. 190220 - Miki Lowe
Burning Images, A History of Effigy Protests - Florian Göttke
Aristide n°4
Sans titre - Benjamin Hartmann
L'inventaire des destructions - Éric Watier
Holyhood, vol. 1 — Guadalupe, California - Alessandro Mercuri
Editer l’art – Leszek Brogowski
Polyphème (d'après Euripide) - J. & E. LeGlatin
Pectus Excavatum - Quentin Yvelin
Saint Julien l'hospitalier Tome 3 - Claire Pedot
Before Science - Gilles Pourtier, Anne-Claire Broc'h
The Letter A looks like The Eiffel Tower - Paul Andali
Après la révolution – Numéro 2
Sights - Henry McCausland
La prise - Florian Javet
De tels baisers - Jul Gordon
Les Grands Ensembles - Léo Guy-Denarcy
Le dos des choses - Guillaume Goutal
Gros Gris n°4 - Duel 















