Ariana Reines

Tiqqun (Collective)

"Concepts made for war do not call for unanimity. And it is only natural that they should be condemned for the ignominious realities they reveal. As for those who have shut their eyes to the sheer and massive fact of the Young-Girl, what difference could a little more blindness make? The Young-Girl is herself the product of misogyny, but the theory of the Young-Girl is not. Open up any women's magazine and you'll see for yourself. The Young-Girl is not always young and, increasingly not even a girl. She is but the figure of total integration into a disintegrating social whole. When morons, against all the evidence to the contrary, protest that "The world is not a commodity!" and, for that matter, neither are they, they are feigning a virginity that only proves their impotence. We want nothing to do with this virginity nor this impotence. We propose a different sentimental education."--P. [4] of cover.

Preliminary Materials for a Theory of the Young-Girl

Ariana Reines's highly anticipated new collection of poetry is an urgent, emotional document with mass appeal.

A Sand Book

Coeur de Lion

"This astonishing young poet-still in her twenties-is surely destined to be one of the crucial voices of her generation."-Michael Silverblatt, Bookworm Composed in the direct, accessible, consciousness-piercing style readers of Ariana Reines' first two books are wildly enamored of, Mercury comprises a group of long poems. These interlocking works speak to the substance and essence of what is said, transmitted, transacted, "communicated" between persons. Reines proposes that substanceand essence are opposites, and explores this in contexts including commercial cinema and internet porn. Your music makes me feel lonelyYour music makes me feel lonelyYour musicMakes me feel lonelyPicking a lemonLate at nightMy heart tightensI fear natureYour music makes me feel lonelyI must be responsible for itI'm aliveI have this hair helmet onI'm so aliveI say yes to the megaplexYou say it's awful isn't it awfulI say yeahSo what. Something sentimentalThis placeI agreeHugeWe're gonna go into the movie. . .The day is long enoughThe day is long enoughThe day is so long enoughTo contain all this and more

Mercury

The Cow

"Beyond brilliant, THE COW is a manifesto of the paradoxical girl-state in which disappearance beckons through presence." --Chris Kraus

A reissue of this instant cult-classic love poem—an investigation of poetic address—by Ariana Reines, a commanding young poet.

"Mind-blowing." —Kim Gordon A Sand Book is a poetry collection in nine parts, a travel guide that migrates from wildfires to hurricanes, tweety bird to the president, lust to aridity, desertification to prophecy, and mother to daughter. It explores the negative space of what is happening to language and to consciousness in our strange and desperate times. From Hurricane Sandy to the murder of Sandra Bland to the massacre at Sandy Hook, from the sand in the gizzards of birds to the desertified mountains of Haiti, from Attar's Conference of the Birds to Chaucer's Parliament of Fowls to Twitter, a sand book is about change and quantification, the relationship between catastrophe and cultural transmission. It moves among houses of worship and grocery stores, flitters between geological upheaval and the weird weather of the Internet. In her long-awaited follow-up to Mercury, Reines has written her most ambitious work to date, but also her most visceral and satisfying.

Hedi El Kholti

Semiotext(e)

The Origin of the World

Fiction. Drama. "There are phone lines to the living and others for calling the dead. TELEPHONE by Ariana Reines is a network for riveting acts of speech, and silence, and listening. I saw the play and never forgot it. The audience was lit like a switchboard by its storms of courage and mystical love."--Rachel Kushner "TELEPHONE is an uncanny parcel of theater in which the wishes of humans to speak with the dead meet the limits or the aspirations of technology. A woman wrapped in language is deemed insane and the lonely pastness of our present walks around calling for itself. TELEPHONE is a whild and visionary piece of art that announced to me a poet who is always tearing the future open like a trapped animal--their eyes reflect us. Don't look! We mus. Bless you and love you Ariana for this great work."--Eileen Myles "I have been WAITING FOR THIS BOOK! When I saw it in the theater every word motion fell into magic stride utterly taxing the soul with its accuracy and mystery. The next night I was at the box office with a different friend and needed to return to my job is the only thing that kept me from the theater a third night. Examine for yourself the bewitching and sometimes misshapen communicative powers of life with the poetry goddess of the stage, Ariana Reines!-- CA Conrad "TELEPHONE, the inspired and utterly original new tone poem of a play, probes feelings with the sensitivity and detachment of a heart surgeon."--Ben Brantley, The New York Times

Telephone

Ryan McGinley

Ryan McGinley, one of the most important photographers of his generation, asks his friends and colleagues to take the camera into their own hands. Following instructions given to them by the artist, a group of individuals explore their own image. Ryan McGinley, since the earliest days of his unparalleled career, has chronicled his friends and cohorts. Whether on the now legendary annual road trips he has organized with a large coterie of twentysomethings documenting summertime exploits or documenting the early gritty years in downtown New York, McGinley is known as the consummate storyteller about freedom and abandon of youth. A few years ago, however, he wanted to challenge his creative habits and asked more than one hundred of his friends and colleagues--guided by detailed instructions and a camera given to them by the artist--to take nude self-portraits using mirrors and other props. Though related to the ubiquitous selfie, the participants didn't have the benefit of seeing the image before they clicked the shutter. Furthermore, McGinley would make the selection of the final image to represent the photo session. The experiment yielded scores of intimate and psychologically revealing photos that--even though not done by his own hand--bear some signature McGinley flourishes in their emotional depth and resonance.

Mirror Mirror

Jean-Luc Hennig

Days and Nights of an Anarchist Whore

The Little Black Book of Grisélidis Réal

Freidrich Kunath

James Elkins

The first major monograph devoted to the witty paintings and sculpture of Los Angeles-based artist Friedrich Kunath. From his precipitous rise in the late 1990s and early 2000s, Friedrich Kunath has been making art that beautifully and lyrically combines the experience of the ordinary with the sublime. In the first major monograph devoted to the past fifteen years of his work, the reader sees how the artist poignantly yet playfully distills the fundamentals of human emotion--desire, loneliness, and anxiety--creating comically tragic scenes in which human beings try to find their way in the world. Shifting easily between genres and modes of making--from painting to installation and even video--the work always maintains his signature wit and humor, laced with melancholy. The artist has considered the ideas that run throughout his oeuvre and offers new insights by gathering works across media that are connected conceptually in eight chapters, organized thematically rather than chronologically. Art historian James Elkins takes an historical approach to Kunath's work, linking him to both recent and older traditions of European painting. Ariana Reines contributes a poem inspired by the artist's work and James Frey writes a short essay inspired by Kunath's persona. The artist and John McEnroe, the famed tennis player, have a spirited conversation about their shared passion for the game of tennis.

Ariana Reines

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