Mosaic issue 54.2 is a special archival issue developed as the first part of a collaborative project with the Dutch artist team Bik Van der Pol. Sifting through fifty odd years of old issues and forty times as many published essays, we selected twelve to republish. The second part of the project involves a series of lectures that will be published in a subsequent issue (55.1).
Issue 54.2, 12 essays, 236 pages, $24.95 CAD
Featuring the work of Louise Lawler on its cover, Mosaic 54.1 includes essays on Dylan Thomas; Man Ray and Robert Desnos’s L’Étoile de mer; the figure of the mother as social activist in Muriel Rukeyser and Maxo Vanka; Wallace Stevens’s Harmonium; famine in Ulysses and the work of Mo Yan; Catherine Malabou’s notion of plasticity; Derirda and Kant; and Octavia Butler’s Kindred.
Issue 54.1, 8 essays, 168 pages, $24.95 CAD
Mosaic 53.4 is a special issue on Roland Barthes’s Camera Lucida: Reflections on Photography. Forty years after its publication, the book still garners attention. Responses to this short, elegant, and personal text range wildly from irrelevance, anger, and dismissal to constituting something of a recurrent trope in writing on the theory of photography. If artists and photographers have no time for the book and little or nothing to say, theorists of photography and theorists more generally are a different story. And it has been this way since its publication in French in 1980 and in English in 1981. This special issue presents essays by Jeff Fort, Johnnie Gratton, Kathrin Yacavone, Bill Scalia, Kris Pint and Maria Gil Ulldemolins, and Thomas O’Grady. The issue opens with an interview with Vancouver-based photographer Ian Wallace, whose 1973 La Mélancolie de la Rue is featured on the cover, and an archive of photographs of André Zougrana curated by Vincent Meessen.
Issue 53.4, 8 essays, 184 pages, $24.95 CAD
This general issue features essays by Phillip E. Wegner, whose argument for “fixing the intolerable present” turns on science fiction, and specifically the film adaptation of Uncanny X-Men (1980), X-Men: Days of Future Past (2014); Jill Marsden, who brings us into proximity with irreducibly singular moments in Walt Whitman’s “Song of Myself”; and Fergal Gaynor, who examines the performative dimension to breathing in Samuel Beckett’s How It Is.
Issue 53.3, 9 essays, 176 pages, $24.95 CAD
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