Book Announcement

Announcing: 'Cotton Dreams' by NIC Kay by Candor Arts

Candor Arts is thrilled to announce the forthcoming release of Cotton Dreams, a book of multidisciplinary works by NIC Kay. This book will be released in a hardcover first edition this Fall of 2019.

Image © NIC Kay

Image © NIC Kay

ON Cotton Dreams:

COTTON DREAMS is a scrapbook, which utilizes text, collage, and photography to chronicle a series of altering, obscure, and mundane performative moments centering self making in the 21st century whilst still in the shadow of the history of slavery and object-hood. 

For 11 years, NIC Kay has researched + journeyed through cultural conflicts of material desire, sociopolitical struggles for representation in fashion, and the pursuit of a black radical politics beyond aesthetics.

Image © NIC Kay

Image © NIC Kay


NIC Kay is from the Bronx.

They are a person who makes performances and creates/organizes performative spaces.

Their work choreographically highlights and meditates on Black life in relationship to space, social structures, and architecture through centering embodied practices. 

They are deeply invested in the act and process of moving, the change of place, production of space, position, and the clarity gained from shifting of perspective.

Their exhibitions, performances, and publications include Deep-Time Construction, CCA Wattis Institute, CA, 2018. AMERICAN REALNESS Festival, Abrons Arts Center, NY, 2018. slothish - where deos it hurt?, MoMA PS.1, 2019. you black + bluised, Abrons Arts Center, 2019. pushit!!, CAC, 2019, CD Zines, Self-published, 2014.

They were a (2018-2019) Lower Manhattan Cultural Council (LMCC) Workspace studio resident .

They have choreographed for and performed in the works of:

Yulan Grant, Bruce Nauman, Lauryn Hill, Lauren Baskt, Jonathan Gonzalez, Keyon Gaskin, Jimmy Robert, A.K. Burns, Rashayla Marie Brown, Elodie Pong, Amina Ross, Rashaad Newsome, Shea Coulee, Ion Lloyd, and Pauline Boudry/Renate Lorenz.

NIC Kay have shown work + performed, and taught workshops throughout the United States and Internationally.

Announcing: 'Imagined Futures' by Rafael Soldi by Candor Arts

Candor Arts is thrilled to announce the forthcoming release of Imagined Futures, a book of photographs by Rafael Soldi with a supporting essay by Miguel A. Lopez. This book will be released in a hardcover first edition this Fall of 2019.

Image © Rafael Soldi, from  Imagined Futures

Image © Rafael Soldi, from Imagined Futures


I was born in Lima, Perú to a mother and father—themselves children of immigrants. I was aware of my queerness in an abstract sense from an early age. At school, the culture was toxic—the posturing of masculinity was paramount to surviving our teens. I was neither interested nor dexterous at this posturing, and knew early on that whatever society expected of me as a man, I was destined to disappoint. Whether this was true, or a projection of my own fears, I’ll never know—perhaps it was both. I imagined my future often, and it was always one starring me living in the shadows. In my teens I relocated to the US, where I never stopped thinking of the life I may have lived, had I never left.

Comprised of 50 seemingly identical self-portraits, Imagined Futures addresses a concern universal to most immigrants. How do we grieve the life we left behind in order to live this one? What do we do with these haunting visions and questions about the lives we left behind? For two years I used analog photo booths to capture the loss of imagined futures, bidding each farewell in a private ritual. Akin to a confessional, the booths are both witness and complicit in each performance—a small stage for a monumental performance that is private and public all at once. Releasing all formal control, each booth yields a unique image, transforming from a simple picture-making apparatus into a collaborator that makes a likeness of a body mourning in its belly.



Rafael Soldi is a Peruvian­-born, Seattle-based artist and curator. He holds a BFA in Photography & Curatorial Studies from the Maryland Institute College of Art. He has exhibited internationally at the Frye Art Museum, American University Museum, Griffin Museum of Photography, ClampArt, The Print Center, G. Gibson Gallery, Connersmith, Filter Space, and Burrard Arts Foundation, among others. Rafael is a 2012 Magenta Foundation Award Winner, and recipient of the 2014 Puffin Foundation grant, 2015 Portable Works Cultural Perspectives Purchase Grant, 2016 smART Ventures grant, 2016 Jini Dellaccio GAP grant, 2017 CityArtist Projects Grant, and a 2017 & 2019 4Culture Arts Projects Grant. He has been awarded residencies at the Vermont Studio Center, PICTURE BERLIN, Oxbow Space, and the Bogliasco Foundation.

His work is in the permanent collections of the Tacoma Art Museum, Frye Art Museum, King County Public Art Collection, and the Pennsylvania Academy of Fine Arts. He has been published in PDN, Dwell, Hello Mr, Metropolis, GRAY, LUXE, Lagom, among others. His work has been reviewed on ARTFORUM, The Seattle Times, The Boston Globe, Lensculture, Photograph Magazine, The Seen, Art Nexus, OSMOS, and PDN. Rafael is the co-founder of the Strange Fire Collective, a project dedicated to highlighting work made by women, people of color, and queer and trans artists.


Miguel A. López (Lima, 1983). Writer, researcher, and Co-Director and Chief Curator of TEOR/éTica in San José, Costa Rica. His work investigates collaborative dynamics and feminist re-articulations of art and culture in recent decades. He has published in periodicals such as Afterall, ramona, E-flux Journal, Art in America, Art Journal, Manifesta Journal, Journal of Visual Culture, among others. He has recently curated “The Words of Others: León Ferrari and Rhetoric in Times of War” (with Ruth Estévez and Agustín Díez Fischer), Los Angeles, REDCAT,2017; “Balance and collapse. Patricia Belli, Works 1986-2016” at TEOR/éTica and Fundación Ortiz Gurdián 2016-2017; “Teresa Burga. Structures of Air” (with Agustín Pérez Rubio) at the MALBA, Buenos Aires, 2015; and the project “God is Queer” for the 31th Bienal de São Paulo (2014). In 2016 he was recipient of the Independent Vision Curatorial Award from ICI, New York.

PRE-ORDER: 'While nothing lasts,' by Edward Cushenberry by Candor Arts

While nothing lasts, by Edward Cushenberry is now available for Pre-Order at a discounted price.

Orders will ship the week of July 27th or can be picked up at the release event at Visitor Welcome Center.

While nothing lasts,
from 65.00


Essay by Oriana Koren


ISBN 978-1-950615-99-5

Releasing at Visitor Welcome Center in Los Angeles on July 27 2019.

9.5" x 12.75" x .625", 120 pages, photographs and text printed on a HP Indigo 12000 HD.

Japanese silk cloth covers, foil stamped on front and spine, tipped in print on back.

Printed and bound in Chicago. 

Cased and foil stamped at Candor Arts.

Special Edition of 10 (coming soon) designed by Matt Austin and Hannah Batsel.

Add To Cart

WORDS FROM THE AUTHOR ON While nothing lasts,:

While nothing lasts, is a collection of intimate and sometimes intrusive photographs of my very close friends and family. This project started four years ago at a party, when I made a picture of my friend crying after she told me she wanted to break up with her boyfriend. After that night, I felt compelled to document every moment of my friends' and family's lives—the good and the bad. I wanted to do this to better understand how we collectively cope with life, love, heartbreak and death. Since this project began, I have seen friendships come and go, been witness to pursuits of love, moments of intimacy, joy, and self-reflection, seen rejected inhibitions, consequences of actions, loved ones facing their own mortality while lying in hospital beds. These moments have been lessons in how nothing really lasts, helping me to embrace life as it is. Throughout these experiences, I have found life to have a tendency to be beautiful.

Edward Cushenberry, author of  While nothing lasts,  — Image Credit: Hiroshi Clark

Edward Cushenberry, author of While nothing lasts, — Image Credit: Hiroshi Clark


Edward Cushenberry is a multidisciplinary artist who was born and raised in Orange County, CA. He now lives and works in Los Angeles, where he splits his time between photographing those who are close to him and drawing everything else that's going on in his world.

Follow Edward Cushenberry on Instagram

Announcing: 'While nothing lasts,' by Edward Cushenberry by Candor Arts

Candor Arts is thrilled to announce the forthcoming release of While nothing lasts, a book of photographs by Edward Cushenberry. This 9.25”x12.5” book will be released in a hardcover first edition with a collector’s edition of 10.

Image © Edward Cushenberry, from  While nothing lasts,

Image © Edward Cushenberry, from While nothing lasts,

WORDS FROM THE AUTHOR ON While nothing lasts,:

While nothing lasts, is a collection of intimate and sometimes intrusive photographs of my very close friends and family. This project started four years ago at a party, when I made a picture of my friend crying after she told me she wanted to break up with her boyfriend. After that night, I felt compelled to document every moment of my friends' and family's lives—the good and the bad. I wanted to do this to better understand how we collectively cope with life, love, heartbreak and death. Since this project began, I have seen friendships come and go, been witness to pursuits of love, moments of intimacy, joy, and self-reflection, seen rejected inhibitions, consequences of actions, loved ones facing their own mortality while lying in hospital beds. These moments have been lessons in how nothing really lasts, helping me to embrace life as it is. Throughout these experiences, I have found life to have a tendency to be beautiful.

Edward Cushenberry, author of  While nothing lasts,  — Image Credit: Hiroshi Clark

Edward Cushenberry, author of While nothing lasts, — Image Credit: Hiroshi Clark


Edward Cushenberry is a multidisciplinary artist who was born and raised in Orange County, CA. He now lives and works in Los Angeles, where he splits his time between photographing those who are close to him and drawing everything else that's going on in his world.

Follow Edward Cushenberry on Instagram

Announcing: 'deviant proposals: AN ANTI-BINARY JOURNAL' compiled by Matthew Anderson by Candor Arts

Candor Arts is thrilled to announce the forthcoming release of deviant proposals: AN ANTI-BINARY JOURNAL, a book compiled by artist and filmmaker Matthew Anderson.

This book will be released in conjunction with the LA Art Book Fair at The Geffen Contemporary at MOCA from April 11-14. You can find it at the Candor Arts table: L10.



Matthew Anderson’s deviant proposals: AN ANTI-BINARY JOURNAL is a collection of works by queer artists from around the globe. The project was born out of Anderson’s struggle to feel fully connected to the queer community in Los Angeles. By turning to his international peers, this journal came into existence. The project began when Anderson compiled “ruminations and provocations by queer persons with a deep need to act / think / feel in opposition to strict binary systems according to (but not limited by) sexuality, gender, performance or identity.” The numerous contributing artists were given the freedom to submit work in any written format focusing on pondering the many questions that may have crossed their paths in relation to anti-binary modes of life, and its inherent provocation of the existing mainstream narratives and discourse. Anderson’s artist book creates a physical space where different voices of queerness converse, coexist and thrive.


Matthew Anderson is an artist and filmmaker currently living and working in Los Angeles. His work centers around multiplicity of perspectives and queer experience. He is the creator of ‘deviant proposals’ and writer and director of the feature film Baja Come Down. His film work also includes short, experimental and documentary projects which have shown internationally across Europe, Australia, North and South America. He is co-creator of Shadow Kitchen, a Los Angeles filmmaker collaborative, and co-creator of the LA Cinema Calendar. He holds a BFA from Chapman University.

Image © Matthew Anderson

Image © Matthew Anderson

About the contributors:


At this moment in time, Ambrose DuPree is a tiny but mighty Black queer

and genderqueer individual who is from and currently works in Columbus,

OH. They are also fortunate to consider (and want to thank) the many

friends, family, art and community spaces they’ve encountered around

the globe that they call home. They are a filmmaker by trade and an

operations wizard by practice.


Erin Pike is a queer performance artist and writer with a flair for the

feminist, political, and absurd. She is a Simon Rockower Award winner.


Holly M. Crawford is an artist, educator, and lycanthrope living and

working in Los Angeles. Holly works predominantly in collage and uses

found imagery and paper to explore play, magic, and identity. Holly has

exhibited at leiminspace in Los Angeles, the Los Angeles Municipal Art

Gallery, The Main Museum, The Nomadic Werewolf Museum, and the

Maryland Institute College of Art.


Judit Kis is a an emerging artist based in Budapest and Berlin. She

received her MA Intermedia Art degree in 2015 at the Hungarian

University of Fine Arts, where she also graduated from Fine Art Theory

and Curating. She also attended Chelsea College of Art and Design and

participated in short residencies and workshops internationally.

In 2016 she had a solo show ‘I Have Never Happened’ at Topic in

Geneva and her works have exhibited in art galleries and institutions

in London, Berlin, Stuttgart, Aarhus and Tallinn. Her works explore

the possibilities of integrating her continuously constructed identity

into society and documenting the stretching of her boundaries when

presented with existential problems or emotionally difficult situations.

Her videos are illustrations of her writings, thoughts and personal

improvement. Her practice is not only a self-healing process, but it

also allows the audience to discover familiar patterns within their own

life experiences concerning human relations and love affairs.


Peter Kalisch is a visual/performance artist based in Los Angeles,

CA. His work attempts to point light to the postmodern condition of

disconnection from shared values, lived intimacy, human connection,

and our physical bodies. His relationship to performance as a medium

comes from the cathartic nature of reconnecting with his physical

vulnerability after a lifetime of upbringing in a first-world capitalist

environment. His work is an attempt at self-awareness and criticality,

an encouragement to others to remove themselves from the pattern

of self-victimization which is so apparent in our society. He promotes

authenticity, vulnerability, honesty and freedom, with an often political

and philosophical edge.


Rachel Elizabeth Jones is a writer and artist currently based in

Vermont. As a writer, she has contributed to publications including

Hyperallergic, The New Inquiry, and the Los Angeles Review of Books.

As an artist, she works to create experience and exchange through

objects, with an inclination towards practices of gleaning, physical and

spiritual reclamation, and concepts of apocalypse. She is also a co-organizer

with nomadic curatorial initiative Overnight Projects.


Savio Debernardis is a multimedia artist and film director currently

living and working in Berlin. His work in essay, video-art, performance

and film, has been shown in institutions and festivals in Europe and

North America. He holds degrees in Art History and Archeology from

the University of Sorbonne Paris-IV, in Fine Art at the Ecole Nationale

Supérieure des Arts de Paris-Cergy (ENSAPC) and continues in studies

in film direction at the Konrad Wolf University of film in Babelsberg.


Valentin Noujaïm is a young filmmaker/screenwriter living in Paris,

with Lebanese and Egyptian roots. His work mostly includes fiction &

documentary narratives on 8mm, DV or digital media. His movies often

concern misfits in dystopian and fantastic worlds, always linked with

sexuality & race.

Featured Project: Reap the Whirlwind by Hương Ngô by Candor Arts


Reap the Whirlwind

by Hương Ngô



We recently got the opportunity to work with Hương Ngô on an edition of clamshell boxes encasing five volumes of books, each page printed and silkscreened, then handbound, and each cover blind debossed.

This edition of 8 was made in collaboration with Ty Deal of Delicious Design League, who silkscreened every page with thermochromic ink.

Reap the Whirlwind

This artist book serves as the anchor of the exhibition, Reap the Whirlwind, the solo exhibition of artist Hương Ngô just recently on view at Aspect/Ratio. The book is a collection of five handmade volumes with text excerpts from congaï novels that each narrate a different version of the logistical, ethical, and political aspects of the concubine system often practiced between Indochinese women and French men during the colonial period. Though appealing to a pulp fiction readership, each book offers a portrait of a character who is politicized against oppressive forces through her congaïship. Ngô has overprinted the collection with thermochromic ink, preventing the viewer from reading the text until it is touched and implicating them in this matrix of intimacies.

Hương Ngô

Hương Ngô is an interdisciplinary artist whose conceptual practice connects the personal and the political, giving material form to histories which have been rendered invisible and interrogating the ideological origins of their erasure. Having grown up as a refugee in the American South, Ngô creates work that reframes the hybrid, the imperfect, and the non-fluent as sites of survival and knowledge. She is a graduate of the University of North Carolina at Chapel Hill (BFA Fine Arts, 2001), School of the Art Institute of Chicago (MFA Art & Technology, 2004), and was a studio fellow at the Whitney Independent Study Program (2012). She was recently awarded the Fulbright U.S. Scholar Grant in Vietnam (2016) for her research, begun at the Archives Nationales d’Outre-Mer in France and recently presented at DePaul Art Museum (2017), that examines the colonial history of surveillance in Vietnam and the anti-colonial strategies of resistance vis-à-vis the activities of female organizers and liaisons.

Her work, which has been described as “deftly and defiantly decolonial” by New City and “what intersectional feminist art looks like” by the Chicago Tribune, has been exhibited at the MoMA (2018), MCA Chicago (2004, 2016, 2017), Para Site HK (2017), Nhà Sàn Collective (2016), the Queens Museum (2014), The Kitchen (2011, 2014), and the New Museum (2012) among others. She has been awarded the DCASE Individual Artist Program Grant (2017, 2018), the Illinois Arts Council (2018), Chicago Artists Coalition BOLT residency (2016-17), Rhizome Commission (2011), and has been in residency through the Camargo Foundation Core Program (2018), LATITUDE Chicago (2015), and SOMA Mexico (2014). She has taught at the MoMA, Pratt Institute, and Parsons The New School for Design and is currently Assistant Professor in Contemporary Practices at the School of the Art Institute of Chicago. 

Learn more about Hương Ngô:

Announcing: 'Cultura y Communidad' by Slow&Low: Chicago Lowrider Festival by Candor Arts

Candor Arts is thrilled to announce the forthcoming release of Cultura y Communidad, a book compiled by co-founders Lauren M. Pacheco and Peter Kepha with co-organizer Edward 'Magic' Calderon of Slow&Low: Chicago Lowrider Festival

This book has been rescheduled for a Spring 2019 release

It will be produced in a hardcover clothbound edition of 200 copies. 

Peter Kepha and Lauren Pacheco, co-founders of  Slow&Low: Chicago Lowrider Festival

Peter Kepha and Lauren Pacheco, co-founders of Slow&Low: Chicago Lowrider Festival

ON Cultura y Communidad:

This publication is concerned with documenting the existence of a Midwestern Lowrider culture, stories and histories.  In partnership with Candor Arts, a retrospective monograph as presented by the Pilsen-based Slow&Low: Chicago Lowrider Festival that celebrates both identity and objects through visual and physical representations in order to forward the argument that the expression of identity is the telos of Lowrider art and culture.

The festival's co-founders Peter Kepha and Lauren M. Pacheco, along with a team of collaborative creatives and academics—Edward ‘Magic’ Calderon, Max Herman, Matt Austin, Dr. Ben Chappell—were 2018 Propeller Fund recipients.  Propeller Fund is jointly administered by Gallery 400 and Threewalls and funded through the generosity of the Andy Warhol Foundation for the Visual Arts.

In 2018, Lauren M. Pacheco received a research grant awarded by the National Association of Latino Arts and Cultures (NALAC) in support of documenting and celebrating collective creative practices and the artistic expression evident in Lowrider community and culture.  

In partnership with BOOMBOX, Chicago's first shipping container pop-up shops developed, designed and built by a woman owned team, Slow&Low will curate a week-long pop-up showcasing art and vintage objects as well as other curiosities from August 20th - August 27th at 725 West Randolph Street (corner Randolph and Halsted). This site is presented by Related Midwest, EQUINOX and LatentDesign. 

Pre-orders for this book will be available at this year's festival. 

Photo © Nick Lipton, from  Cultura y Communidad

Photo © Nick Lipton, from Cultura y Communidad

ABOUT Slow&Low: Chicago Lowrider Festival:

Slow&Low is a curated one-day outdoor street-based festival celebrating Lowrider culture—master craftsmen, innovative mechanics, custom pinstripers, muralists and other enthusiasts who contribute to the overall visual aesthetics of a thriving Midwestern sub-culture. Not to be confused with an auto show, this community-cultural event presents and explores notions of car culture as an authentic form of folk art in the public sphere—a way of celebrating beauty, self-expression and worth.

In 2017, over 5,000 people, young and old, walked a street filled with vintage and stylized automobiles and bicycles, danced to local deejay talent spinning hip hop, house, rockabilly and soul, and watched as cars hopped and cruised and were entertained by mariachis, folkloric dancers and a marching band.

Slow&Low: Chicago Lowrider Festival is co-founded by siblings—Peter Kepha and Lauren M. Pacheco. Both are third-generation Mexican-Americans born and raised in Brighton Park, a community on Chicago’s southwest side and proud Chicago Public School graduates. Their history runs deep in Chicago's communities having parents hailing from Pilsen and LeClaire Courts public housing in Archer Heights. 

Photo © Nick Lipton, from  Cultura y Communidad

Photo © Nick Lipton, from Cultura y Communidad

Announcing: 'Under the Knife' by Krista Franklin by Candor Arts

Candor Arts is thrilled to announce the forthcoming release of Under the Knife, a book authored by Chicago-based poet and artist Krista Franklin.

Due to release in Fall of 2018, this book will be produced in an edition of 500 copies.

Krista Franklin   in Martinique , photo ©  Alexandria Eregbu

Krista Franklin in Martinique, photo © Alexandria Eregbu

ON Under the Knife:

Part memoir, part treatise, part collage and experiment, Krista Franklin’s Under the Knife is an excavation; a dig at the sites of the construction and demolition of the poet/artist’s selves.

Franklin plays fast and loose with fact at the crossroads of the history of her maternal line and her own in a ruptured conversation about inheritance and the generational traumas that blossom in the body. Under the Knife hiccups, cross-fades and stops midsentence as Franklin cuts through the illusion of memory, the pathologies of history, and the stories we tell ourselves about ourselves.

© Krista Franklin, from  Under the Knife

© Krista Franklin, from Under the Knife

ABOUT The Author:

Krista Franklin is a writer and visual artist whose work has appeared in Poetry, The Offing, Black Camera, Copper Nickel, Callaloo, BOMB Magazine, Encyclopedia, Vol. F-K and L-Z, and the anthologies The End of Chiraq: A Literary Mixtape, The BreakBeat Poets: New American Poetry in the Age of Hip-Hop and Gathering Ground. Her chapbook of poems, Study of Love & Black Body, was published by Willow Books in 2012.

Franklin is a frequent collaborator with fellow artists, most notably contributing her writing to performances, prints, audio recordings and film voiceovers for the projects of Cauleen Smith; the text of Ayanah Moor’s hand-painted signs for the performance “Untitled (OFFERINGS)”; and poetry for Erin Christovale and Amir George’s catalog Black Radical Imagination (Dominica). Her work is often linked with the cultural movements Afrofuturism and AfroSurrealism, and she was mentioned in Chicago magazine’s “The Next Generation of Chicago Afrofuturism.”

Her work has exhibited at Rootwork Gallery, Produce Model, The Obama Foundation Summit, The Studio Museum in Harlem, Chicago Cultural Center, The Cornell Fine Arts Museum, The Columbia Museum of Art, National Museum of Mexican Art, and featured on 20th Century Fox’s Empire. She is a Cave Canem fellow who holds an MFA in Interdisciplinary Arts from Columbia College Chicago, and currently teaches Writing at the School of the Art Institute of Chicago.

© Krista Franklin, from Under the Knife

Recently in the studio: Barbara Jones-Hogu: RESIST, RELATE, UNITE with the DePaul Art Museum by Candor Arts

We recently had the privileged opportunity to work with Julie Rodrigues-Widholm and Mia Lopez of the DePaul Art Museum on the institution's most recent monograph Barbara Jones-Hogu: RESIST, RELATE, UNITE

Barbara Jones-Hogu was a central figure of the Black Arts Movement and a founding member of the African Commune of Bad Relevant Artists (AfriCOBRA). Throughout her career she worked in painting, printmaking, film, education, and has contributed to major projects including Chicago’s Wall of Respect mural. This was her first solo museum exhibition featuring works on paper including woodcuts, etchings, lithographs, and screenprints.

On the occasion of the exhibition Barbara Jones-Hogu: Resist, Relate, Unite, the museum published the first monograph on the artist’s work. The publication features texts by art historian Rebecca Zorach, Tate Modern Curator of International Art Zoe Whitley, and artist Faheem Majeed.

This book was published in an edition of 500. 

We designed and produced this publication with a heavy focus on honoring Barbara Jones-Hogu's skillful work and dedication to the medium of screenprinting.

In collaboration with Delicious Design League, the cover fabric was silkscreened with two colors, foil stamped once, and wrapped by hand in our studio. Lowitz and Sons printed the interior of the book and smythe-sewed the book blocks. All foil stamping and casebinding were done by hand in our studio. 

We recently co-published a small special edition with the DePaul Art Museum of 10 copies available in a blind-debossed custom clamshell box. It is now available in our shop. 

It is now available for purchase through our online shop:

Announcing: 'T by Trace' by Teens Re-Imagining Art, Community & Environment by Candor Arts

Candor Arts is thrilled to announce the release of T by TRACE, an art/cookbook authored collaboratively by participants in the TRACE (Teens Re-Imagining Art, Community & Environment) program at Hamilton Park in Chicago’s Englewood community. 

This book has been rescheduled for a Spring 2019 release

It will be produced in a handmade edition of 75 copies designed by the teens of the TRACE program, produced by Candor Arts.

Image:  TRACE Teens working on book design at Candor Arts.

Image: TRACE Teens working on book design at Candor Arts.


Exploring the culinary and agrarian traditions embedded in Chicago’s southside, T by TRACE combines the family narratives of southside youth with profiles of Englewood gardeners, growers and environmental activists as a form of creative ethnography disrupting contemporary narratives of Chicago’s Black communities as inherently violent, disconnected and unresourced.

Notes on the above images: Graphic design image created by Dartony "Tiny" Wright in collaboration with artist Leah Gipson, a visiting artist for TRACE. The context of the design (according to Tiny) represents community bonding and ideas around food sustainability. 

The photo collages were made using the teens' family photographs to enforce the importance of family histories/narratives and shared identities. 


TRACE (Teens Re-Imagining Art, Community & Environment) is a civic leadership and community curatorial job training program of the Chicago Park District headquartered at Hamilton Park Cultural Center in the Englewood community.  Using the practice of Creative Activism, TRACE shows teens how to leverage the arts to engage, inspire and persist for positive change within ourselves and our communities.

During the spring of 2018, ten TRACE interns worked with teaching artists Concitta Cavin and Zakkiyyah Najeebah to conceptualize, research, produce and design what they envision as a celebration of the ways food and our relationship with the land has been and can be a balm for we descendants of The Great Migration searching for resiliency within the urban landscape.

As an extension of the teens exploration of environmental activism and food, TRACE also invited guest artist Leah Gipson to guide a textile workshop in which teens were encouraged to use designs and patterns as a means to communicate ideas that enforce their definitions of imagination, community, and shared identities. Exercising the importance of shared narratives and family, several of our teens submitted family photographs to activate questions regarding the Black family photo archive, informal archiving practices, and the overall concept of “family”.

Trace Logo-03-BLK-NEW.png

Follow TRACE on Instagram: @teensreimaginin


Pre-Order: falling is the one thing i by Korde Arrington Tuttle by Candor Arts

falling is the one thing i by Korde Arrington Tuttle is now available for pre-order!

Please join us for the NYC private release event on the evening of May 31. 

To receive event details, please RSVP your party to



Placing haiku and photography in conversation with one another, falling is the one thing i is a cumulative, seventeen-syllable exercise in surrender; an active practice of yielding to physical, emotional, and psychological environments. Spanning 2015-2017, it is comprised of poems and images, ranging in subject from the follies of institutional oppression to love in the afterlife, through a black, queer intersectional lens. This collection is an intimate inquiry into the body, dreamscapes, and the aesthetic force of sidewalk stains.


Korde Arrington Tuttle is a multi-disciplinary artist hailing from Charlotte, NC. With a primary focus in theatre and performance, his work has been developed and seen at the Obie Award-winning The Fire This Time Festival, The 24-Hour Plays: Nationals, the Obie Award-winning Harlem 9’s 48 Hours… in Harlem at The National Black Theatre, HomeBase Theatre Collective, The Movement Theater Company, Active Culture at JACK, The Each-Other Project, OnQ Productions, The New School’s 2015 AfroFuturism Conference, and The Tenth Magazine, in collaboration with the Leslie-Lohman Museum of Gay and Lesbian Art. Korde is a proud recipient of the Steinberg Playwriting Fellowship, and was selected a finalist for both the 2017 Alliance/Kendeda National Graduate Playwriting Contest and City Theatre National Award for Short Playwriting Contest. In 2016, his play clarity won the 41st Annual Samuel French Off-Off Broadway Festival, and will appear in Samuel French’s successive anthology. Korde’s plays + poetry have also been published by Harlem 9’s 48 Hours… in Harlem, The Fire This Time Festival, and The Tenth Magazine. Korde is a Middle Voice Theatre Company member at Rattlestick Playwright’s Theater and received his MFA in Playwriting at The New School.



Announcing 'narrow distances' by Ka-Man Tse by Candor Arts

Candor Arts is thrilled to announce the release of narrow distances, a book of photographs by Brooklyn-based visual artist Ka-Man Tse. This monograph is due to release in July of 2018. 


On Narrow Distances

My image-making begins from that tension between longing and belonging, place and placelessness. In narrow distances I am asking questions of home, identity, community, and subject-hood. What does it mean to look, who has the right to look, what does it mean to be seen? My photographs address a desire to negotiate multiple and diasporic identities and are made within the intersection of Asian and Pacific Islander (API) and LGBTQ communities, and made through a queer lens.

The photographs aim to establish a sense of possibility in the context of a contingent, post-colonial, pre-2047 Hong Kong in constant flux and transition. The book opens with images from the decommissioned airport, Kai Tak, and from those pictures, emerge the portraits.  Possibilities start with small gestures, clear or coded. The project places the protagonists within and against the landscape. The portraits center those who are often marginalized and invisibilized, taking care of Hong Kong, each other and their own communities they have built, occupying and queering space, time, and gesture. In the contested and contingent spaces in the home, in the public realm, occupying a space and a conversation is an act. My images take place in this potentiality of the in-between and the everyday. They are made out of a need to occupy the landscape, space, and frame; to establish a sense of personal space and agency where it is often contested and eroded, even within the spaces of the in-between, and of contingency, subtraction and redevelopment, a city is in transition; a body and one’s identity is in transition. Who can claim ownership, who can love or belong; who retains a memory, what does a future look like and who does it include?  Is an interregnum possible?

My process involves re-imagining, revisiting, collaboration and long-engagement. The portraits are made through conversations and interviews around personal histories, identity and place, visibility and community. Using mostly a view camera (with two sides per film holder), my photographs propose B-sides: queer narratives and obsessions. The images are built. In a culture and economic system where speed and efficiency are valued above all else, I deploy a 4x5 camera so we can be deliberate, breathe together, slow time together. I recast this world to see it re-imagined, with my protagonists, and kinfolk: both inherited and created.

Image © Ka-Man Tse from  narrow distances

Image © Ka-Man Tse from narrow distances

About Ka-Man Tse

Ka-Man Tse (b. Kowloon, Hong Kong) is a photographer, video artist and educator. She received an MFA from Yale University, and a BA from Bard College.  She has exhibited her work at the Lianzhou Foto Festival in Guangdong, China; Para Site in Hong Kong, the 2016 Hong Kong Contemporary Film Festival, and Videotage's Both Sides Now III – Final Frontiers in Hong Kong, Taipei, Shanghai, and the United Kingdom. U.S. shows include the Museum of Chinese in America in New York, NY, the Bronx Museum of the Arts; the Palm Springs Art Museum, Cornell University, Capricious Gallery, the Philadelphia Photo Arts Center, and the Eighth Veil in Los Angeles. She has mounted solo shows at Lumenvisum in Hong Kong, the Silver Eye Center for Photography in Pittsburgh, PA and the New York Public Library, Mulberry Street Branch. She was a SPARC Artist-in-Residence through the New York City Department of Cultural Affairs, and completed the Artist in the Marketplace Program through the Bronx Museum of Arts. She is the recipient of the 2014-2015 Robert Giard Fellowship, and a 2017-2018 Research Award from Yale University Fund for Lesbian and Gay Studies. Her photographs have appeared in Monocole, Papersafe Magazine, Newspaper, GR-09022017 published by Skreid in Oslo, Norway, The New York Times, The New Yorker, Capricious Magazine, O Magazine, Performa 07: Everywhere and All at Once, Salon, Huffington Post, Slate, Hyphen Magazine, Time Out New York, Time Out Hong Kong, and Ming Pao. Her work is currently on view in the group exhibition Queering Space at Alfred University. This spring her work be included in the forthcoming WMA Masters Exhibition, Transition, in Hong Kong. She is co-curating Daybreak: New Affirmations in Queer Photography at the Leslie-Lohman Museum with Matt Jensen, opening in June 2018. She currently teaches at Yale University and at Parsons School of Design.

Learn more about Ka-Man Tse

April 13 — Chicago reception for 'Anthology 2014-2016' by Tony Lewis by Candor Arts

Candor Arts is thrilled to announce the release of Anthology 2014-2016, a publication of poetry by Tony Lewis.

Please join us for a cocktail reception to celebrate the release of this publication:

April 13, 7-11 pm — 3217 S Archer Ave, Chicago, IL 60608


On Anthology 2014-2016

Anthology 2014-2016 is a collection of thirty-four poems written by Tony Lewis between 2014 and 2016, and was produced on the occasion of an exhibition Anthology 2014-2016, a corresponding group of thirty-four collages at the Hirshhorn Museum and Sculpture Garden in Washington, D.C. in the Spring of 2018. It also marks the conceptual completion of the collages that are themselves a collection of smaller text drawings culled from the pages of Calvin and Hobbes, a comic strip by Bill Watterson. Each collage was part of the writing process, and represents a tangible commitment to the words that make each poem. The publication is the liberation of original writing, and a personal commitment to understanding the relationship between drawing, collage, and writing.


Anthology 2014-2016 is a 7"x9" softcover book of 40 pages staple-bound with risograph white ink covers. The edition of 500 comes in three color combinations. 

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About Tony Lewis

Tony Lewis (1986, L.A.), currently lives and works in Chicago. Solo exhibitions of his work have been recently held at the Shane Campbell Gallery, Chicago; Massimo de Carlo, London; Blum and Poe, Los Angeles; Museo Marino Marini, Florence; and Museum of Contemporary Art Cleveland. He has participated in recent group exhibitions at Boston University Art Galleries; Aspen Art Museum; HOME Manchester, UK; LAXART, Los Angeles; Studio Museum Harlem, New York, and Bowdoin College Museum of Art in Maine. He is the recipient of the 2017-2018 Ruth Ann and Nathan Perlmutter Artist-in-Residence Award at the Rose Art Museum at Brandeis University, where his work is on view in a site-specific project through June 2018, and his work is currently on view in the solo exhibition Anthology 2014-2016 at the Hirshhorn Museum and Sculpture Garden, Washington, DC.

Learn more about Tony Lewis

Featured Project: Pliant History by Barbara Ciurej and Lindsay Lochman by Candor Arts


Pliant History

by Barbara Ciurej and Lindsay Lochman



We recently got the opportunity to work with Barbara Ciurej and Lindsay Lochman on a small handmade book edition of their work Pliant History, and wanted to talk more with them about this beautiful project.  

This edition of 10 includes interwoven vellum inkjet-printed sheets laid atop Piezo-printed portraits. The covers and spines are blind-debossed into an eggplant silk fabric. 

What was the origin or initial vision of the work?

Our culture is awash in the glorification of youth, but lacking in a visual vocabulary to express the power and inevitability of transformation over a lifetime. This became abundantly clear to us as we entered the invisible world of middle age.

In our practice, we reference art history, reanimating mythology and imagery to interpret the present. From 2001-08, during artist residencies at Ragdale Foundation, we began photographing older women, drawing from the art historical canon. We explored strategies which would infused authority and divinity back into depictions of aging. We focused on seismic shifts in art history — from early fertility figures, to ancient Greece and Rome, into the Renaissance — pivotal times when beliefs systems clashed and conjoined producing new ideas. We mined these moments to produce an extended body of work called All Things Are Always Changing.

What became the book Pliant History, was a segment of that work initially titled Dialogues with Michelangelo. We considered how power is structured by pairing images of Michelangelo’s sibyls and prophets from the Sistine Chapel ceiling with contemporary portraits of women “assuming the pose.” In contrast to these seers and storytellers who served to justify authority in the Renaissance, our figures present embodied knowledge without the signifiers of books and beards, robes and thrones. Juxtaposing contemporary and historic representation as a means to access the past, we evoke the fluid and dynamic nature of power.

Describe a little about your practice and how this piece fits into your work overall.

We have been collaborating on projects for over three decades using photography to address the confluence of history, myth and popular culture. We share the conceptual and the practical aspects of creating work. Projects are often long-term, revisiting the initial work, then creating new iterations.

Working on projects through time is like attending the same opera over a span of many years. You identify with the characters differently, seeing nuances and connections initially missed, finding deeper meaning.

Can you talk a bit about the design and how you came to deciding how this piece should exist?

We originally exhibited prints side by side, but the layering of histories, one upon the next, suggested contingent relationships rather than oppositional ones. The idea of printing Michelangelo’s images on fragile, semi-transparent vellums and overlaying them onto our images literally allowed the viewer to look through history. The concept of turning a page on history was metaphorically rich, making clear a book was the most appropriate form for this idea. The interplay of vellum image and underlying image was thrilling, suggesting temporality, hybridity, transformation, and evolution.  

We made a quick mockup with prints and vellum overlays and thus began a journey that took 4 more years and many meanderings.

Numerous dummy books with variations on binding a book with vellum interleaves were constructed. We researched and consulted with printers, bookmakers and publishers. After extensive testing, we chose paper, print method, text, design and layout to suggest the collision of Renaissance-era books with the present. Page size was determined by the ratios underpinning early illuminated manuscripts. Prints were made with carbon piezography inks on cotton rag paper to evoke the opulent materiality of Renaissance books and the sumptuous renderings Michelangelo’s paintings. Digitally simulated marbled endpapers line the cloth cover. An excerpt from Ovid’s Metamorphoses describing the certainty of change was added; a visual poem interspersed to alter page rhythm. The effect we wanted was a contemporary manuscript of change.

Finally, we landed at Candor Arts where every obstacle hindering completion was met with thoughtful suggestions, patience, and skill, making the book a thing of beauty.

We envision the 10 copies of the book in special collections as inter-history dialogue with emancipatory potential.

What is your next project?

An inadvertent swipe with the eraser tool in Photoshop led to a surprising iteration of this work. Now we are digitally collaging our images into Michelangelo’s figures, as we imagine a musical accompaniment.

Then we’ll be moving on to a cookbook, a critique of capitalism and the design of a fragrance.

Learn more about Barbara and Lindsay's work at:

'In the Company of Black' Pre-order Sale Ending Soon by Candor Arts

Second Edition proof of  In the Company of Black  by Cecil McDonald, Jr. 

Second Edition proof of In the Company of Black by Cecil McDonald, Jr. 

The second edition of In the Company of Black by Cecil McDonald Jr. will debut at the end of this month. We want to announce that this is the last week that we will be offering our discounted pre-order price for this book. After February 14, the book will be $75. 

Here are some photographs that help capture the process of how we produce editions like this one:

Photographs and text are printed on a HP Indigo press (soy-based ink prints) and then smythe-sewn and glued by in Rockford, IL. 

Photographs and text are printed on a HP Indigo press (soy-based ink prints) and then smythe-sewn and glued by in Rockford, IL. 

Paper is very important to us, and these stocks are appropriately warm and gorgeous, well-fitting for Cecil McDonald, Jr.'s photographs, avery r. young's poems, and Tempestt Hazel's essay Adorning the Lost & Found

We work with Ty Deal at Delicious Design Co. to silkscreen the covers and match the ink color exactly to the interior yellow pages. 

We work with Ty Deal at Delicious Design Co. to silkscreen the covers and match the ink color exactly to the interior yellow pages. 

After the covers are inked, all casework and foil stamping is done in-house at Candor Arts. 

In the Company of Black [Second Edition]


Foreword by Tempestt Hazel

Poems by avery r. young


ISBN 978-0-9968161-2-0

Released in February 2018.

9" x 11.75" x .625", 144 pages, photographs and text printed on a HP Indigo press (digital offset oil-based ink prints).*

Fabric covers, silkscreened by Delicious Design League, foil stamped spine. 

Printed and smythe sewn in Rockford, IL. 

Cased and foil stamped at Candor Arts.


A small amount of copies remain in the handmade artist book first edition. Purchase here

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Featured Project: Anthropoembryos by Patricia Rose by Candor Arts



by Patricia Rose

(Lauren Beck, Hannah Givler, Laura Robbins Maidens,

Danielle Rosen, Casey Smallwood, Danny Volk)


We recently got the opportunity to work with Danielle Rosen of Patricia Rose on a specialty clamshell box for their work ANTHROPOEMBRYOS, and wanted to talk more with her about this beautiful project.  

This piece for ANTHROPOEMBRYOS is a 14x18x2" clamshell box with a reflective blue-metallic Japanese fabric, and a blind-debossed title on the front. The two fitted trays hold five mounted archival pigment prints and a letterpress booklet produced by April Sheridan. 

What was the origin or initial vision of the work?

The project started as a conversation with Danny Volk about Lee Edelman’s book No Future: Queer Theory and the Death Drive.  Danny asked several cis-gendered female friends to respond to the question: Why would an artist want to have a baby today?  Danny invited each of us to collaborate on a show called The Baby Gap at the Outhaus in Urbana. Using the retail environment of The Baby Gap as a context, we explored our varied personal views on human procreation.  Hannah made a cash wrap, Laura made a playlist,  Casey made banners, I made a scent, and Danny was the model.  Lauren was later invited to contribute to the text because I felt that we needed the perspective of an artist friend who does have a baby.  All of the collaborators produced a piece of writing in response to the project prompt to be woven into a Baby Gap lookbook for the seasonal collection: ANTHROPOEMBRYOS.

In early discussions of the show, Danny brought up his collection of old underwear stained with pre-cum.  Somehow, Danny wanted to incorporate these into The Baby Gap exhibition.  After several discussions, Danny’s underwear became the ANTHROPOEMBRYOS collection.  It seemed important that the underwear were represented as conceptual images rather than as physical products in The Baby Gap exhibition.  So the lookbook format really arose out of a conversation around fashion, waste, absence, reproduction, desire, and queerness inspired by Danny’s soiled underwear.  

Fashion designers like Yohji Yamamoto often include inspirational notes within their lookbooks, so we introduced several references for the collection into the text.  We referenced the movie Alien and other sci-fi films to think through surrogacy and attachment.  Plastic surgery, labiaplasty, fruits, and the yummy mummy operated as molting figures within the text.  And the title came about when thinking about the inherent anthropocentrism of concerns over the propagation of the human-animal. Through the ANTHROPOEMBRYOS lookbook our personal experiences were interpolated with theoretical and cultural references to reproduction, sexuality, domestication, and agency.

After the show was over, I felt that the lookbook needed a more permanent and formal structure. So, I approached Matt at Candor Arts to help pull everything together.  And here we are!  

Describe a little about your practice and how this piece fits into your work overall.

In my practice, I’ve always obsessed over the question of the animal—what animals are, how human-animals relate to each other and other species, and how animality is represented in various cultural contexts.  Reproduction as a metaphor for breeding and art processes like casting or photography has been an interest of mine over the past several years.  Many animals spend an enormous amount of energy trying desperately to reproduce.  With that in mind, problematizing what it means for a human-animal to resist a biological imperative like reproduction is very relevant to the concerns of my practice.  The fashion system as a site for gendered expressions, mating displays, and molting processes are also concepts that I’ve been exploring in my work for a while.  So when Danny started talking about this project, I was very engaged with the lines of inquiry.  Danny is a great collaborator who is always driving conversations forward and that also made it a fun project to take on.

Patricia Rose is a performative platform that I’ve used within my practice since 2011.  Over the years, Rose has become a site for collaborative authorship where various human-animals intersect and are invited to perform as one polyvocal entity.  With this project, I like to think of Rose as a non-binary Mother, not unlike a SCOBY.  With ANTHROPOEMBRYOS, Rose is the fictional designer who is pulling various entities into relation to a produce a new being: a conceptual queer  fashion collection.


Can you talk a bit about the design and how you came to deciding how this piece should exist?

When working on the design for ANTHROPOEMBRYOS, I felt that photos of the collection should be separate from the text.  The photos function as conceptual product shots and the text walks viewers through Rose’s poetic framework for the collection.  That is why they are placed in separate compartments within the book box.  

Having a letterpress book was important me to because it seemed vital to have physical impressions on the page to add sensuality to the reading of the work. Creating a book that viewers will physically touch is an act of intimacy.  Through the process of touch, viewers may further soil the work unless they wear protective gloves.  I make no stipulations about how the work should be handled.

It is not typical to make just one letterpress book.  This was intentional for this project—the object is an individual.  Of course, all of this is wrapped up in fetishism.  And if this book finds a home in a library, anyone who wants to see it will have to go to that specific context.  Like when I want to see Francis Bacon’s Figure with Meat, I have to go to the Art Institute of Chicago to see it.  So the library that the book belongs to should have a collection that relates to the content of the work.  This would allow opportunities for intertextual reading and research.  Finding a library for ANTHROPOEMBRYOS is the next step in its actualization.

What is your next project?

A long term Patrica Rose project called HELIANTHEAE, SCALESIA. is in the works.  We are using sunflowers as both poetic figures and political metaphors to meditate on the life of autotrophs.  For the final text we are specifically looking at Scalesia, endemic to the Galapagos Islands. This project is exciting to think about in contrast to the form of ANTHROPOEMBRYOS because I plan to make editions that function like an ecology; each book will live in a different habitat or site but still play with thematics of polvocality, multiplicity, and singularity.  HELIANTHEAE, SCALESIA. is a long term collaboration with a very thoughtful group of artists: Carris Adams, Autumn Elizabeth Clark, Maggie Crowley, Hale Ekinci, Catherine Feliz, Ingrid Lee, Natasha Mijares, Luan Sherman, Jen Smoose, and Falak Vasa.  It is really exciting to be in the process of pulling the writing together and I look forward to building the edition soon!

Many thanks to all of the incredible artists who helped to produce ANTHROPOEMBRYOS including Matt Austin, April Sheridan, Lauren Beck, Hannah Givler, Laura Robbins Maidens, Casey Smallwood, and of course, Danny Volk!  

Learn more about Danielle's work at:

Announcing 'I Saw the Sun' by Maren Celest by Candor Arts

Candor Arts is very excited to announce the forthcoming publication and vinyl LP of I Saw the Sun by Maren Celest, due to release in late Spring 2018. 

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On I Saw the Sun

I Saw the Sun is an invitation to explore a sure-footedness that is paradoxically rooted in the recognition of the precariousness of life. It looks to distill empathy, awe, urgency and gratitude from the wild desires, fears, and limited time we share together.

This book and album are meant to perform publicly a private confrontation and catharsis of fear, sometimes powerfully, sometimes on its hands and knees—in hope of seeing seductive mystery in the unknown, and to turn fear into a tool.

The words offered have been carefully shaped like knives—sharpened by humor and tempered by the urgency of mortality, with the sharpest ones brought to you in a soft melodic sheath… tools not for violence, but to cut away disillusionment and the unnecessary.

On days one needs to cut loose, it hopes to be a book of pocket knives. And, in a more substantial moment,  “A long curved blade in the hand of a sweetheart”.

...Or, at least, a good swift kick in the butt from a friend that wants to see you be true.

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About Maren Celest

Maren Celest, direct result of a moment of passion on February 2nd, 1987. Born October 29, night 'fore devil's night. That may or may not mean a thing. She is a storyteller that employs a broad skill set; vocal work, musical composition, all kinds of visual design, and writing. She has shown her photography and short films internationally, and collaborates with many amazing musicians in Chicago to create visuals on their behalf. She performs live digital foley (sound effects), vocals, narration and some instrumentation for Manual Cinema, a performance collective, design studio, and film/video production company that combines handmade shadow puppetry, cinematic techniques, and innovative sound and music to create immersive visual stories for stage and screen. She created and runs Law of Ice, a vintage shop focused on gender-neutral clothing. She has previously released two albums and an EP with the band PhotographersI Saw the Sun will be her first official LP and vinyl record as a solo songwriter/composer, though her tracks have had lovely collaboration added by some of her favorite musicians.

Learn more about Maren Celest

Follow Maren on Facebook + Instagram 

Pre-Order: 'In the Company of Black' [Second Edition] by Candor Arts

The second edition of In the Company of Black by Cecil McDonald, Jr. is now available for Pre-Order!

This book will release in February 2018, which will be the same time all pre-orders will ship. 

In the Company of Black [Second Edition]
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This book is currently available at a reduced price of $65 until the coming release in early February 2018, at which point it will be $75.

In the Company of Black by Cecil McDonald, Jr. 

In the Company of Black was first released in April 2017 in an edition of 100 handmade signed copies. The book was supported by a release at Filter Photo and a conversation between Cecil McDonald, Jr. and Dawoud Bey—Photographing Black Lifeput on by the Chicago Humanities Festival at the Art Institute of Chicago.

The first edition of In the Company of Black has been collected by institutions such as the Metropolitan Museum of Art, the Art Institute of Chicago's Ryerson and Burnham Libraries, Yale University's Robert B. Haas Family Arts Library, the Walker Art Center, Trinity Christian College, the Museum of Contemporary Photography, the National Arts Library in London, the University of Chicago Special Collections Library, Brown University, the Columbia College Chicago Library, the Joan Flasch Artist Books Library, the University of Iowa, Illinois State University Milner Library,  George Washington University, Pier 24 Photography Museum, Ohio University, among other private collections.

The book has been recognized by the Aperture Foundation and ParisPhoto in being shortlisted in the top 35 of roughly 1000 entries for the 2017 PhotoBook Awards and will be traveling on exhibition around the world until the end of October 2018. 

There are still a few copies remaining in the handmade artist book first edition of 100 signed and numbered books:

Additional details about the forthcoming Second Edition:

Please note that these images are of a pre-order proof copy of the book — the final design will be slightly different in appearance (thinner, slightly smaller in size — spec details below)

ISBN 978-0-9968161-2-0

Pre-Order price of $65 — will ship in February 2018.

Book will be available for $75 retail after February release. 

9" x 11.75" x .5", 144 pages, photographs and text printed on a HP Indigo press. 100T and 80T papers.

Fabric covers, silkscreened by Delicious Design League, foil stamped spine. 

Printed and smythe sewn in Rockford, IL. 

Cased and foil stamped at Candor Arts.

About In the Company of Black:

In the Company of Black is a book of photographs by multi-disciplinary artist Cecil McDonald Jr. For the past seven years, McDonald has developed a body of work focused on what he describes as “extraordinarily ordinary” people: educators, artists, administrators, business owners, teachers, and students, “I’m bringing together images of Black people who represent everyday folks.” Complemented with an essay by Tempestt Hazel and poems by avery r. young, McDonald’s In the Company of Black addresses and responds to the vast inaccuracies of Black humanity depicted within American society.

“When it comes to Black people, America is fascinated with extreme poles: either showing victims of violence, pain, and poverty (Black misery) or famous athletes and entertainers, and icons of popular culture (Black exceptionalism). This false dichotomy denies Black people the individuality and full spectrum of humanity that is so readily offered to the white population in this country. The photographs that I’ve been making ask the question: where are the people who make up the space in between? Here they are, they are important, they must be seen!” — Cecil McDonald, Jr. on In the Company of Black. 

Cecil McDonald Jr. uses photography, video, and text to explore the intersections of masculinity, familial relations, and the artistic and intellectual pursuits of Black culture. McDonald studied fashion, house music, and dance club culture before receiving an MFA in Photography at Columbia College Chicago, where he currently serves as an adjunct professor and a teaching artist at the Center for Community Arts Partnerships. His work has been exhibited both nationally and internationally, with works in the permanent collection of The Cleveland Museum of Art, Chicago Bank of America LaSalle Collection, and the Harris Bank Collection. He was awarded the: Joyce Foundation Midwest Voices & Visions Award, the Artadia Award, The Swiss Benevolent Society, Lucerne, Switzerland, Residency and the 3Arts Teaching Artist Award. McDonald participated in Light Work’s Artist-in-Residence program in July 2013. Most recently, McDonald completed the DCASE residency where he began work on his most recent body of work Cuts and Beats, a project that montages performance photography from the floors of dance festivals and nightclubs with late 19th-century imagery from stage and theater advertisements, sheet music covers, and celebrity portraiture.

Announcing 'Five Fifths' by Growing Concerns Poetry Collective by Candor Arts

Candor Arts is very excited to announce the forthcoming publication Five Fifths by Growing Concerns Poetry Collective.

Please join us for the book and vinyl release performances at Steppenwolf Theater on January 26 and 27, 2018, where Five Fifths will be available for purchase. Tickets are now available


On Five Fifths

Growing Concerns Poetry Collective's Five Fifths features new poetry by the group's poets McKenzie Chinn and Mykele Deville, including the collected text from the collective's inaugural album WE HERE: Thank Your For Noticing. In this tandem collection of deeply personal work, Chinn and Deville interrogate the nature of selfhood, blackness, community, love, ritual, and vulnerability while celebrating perseverance and survival in the face of generational and systemic marginalization. 

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About Growing Concerns Poetry Collective

Growing Concerns Poetry Collective fuses lyrical, narrative, and hip-hop poetry with original music and soundscape to create spoken word performance that is greater than the sum of its parts. The collective released its inaugural album We Here: Thank You For Noticing in August 2017. Growing Concerns is poet and rapper Mykele Deville, poet and actor McKenzie Chinn, and visual artist and musician Jeff Austin. You can follow them on social media @growingconcernspoets.

Mykele Deville is a rapper, poet, curator, and actor from the west side of Chicago. His solo hip-hop and poetic recordings include Peace, Fam (2017), Each One Teach One (2016), and Super Predator (2016). He has performed on stages across Chicago and led workshops on hip-hop and identity in the midwest and Portland. His work has been profiled in the Chicago Tribune, The Reader, Consequence of Sound, Vocalo radio, and NPR radio.

McKenzie Chinn is a poet, actor, and teaching artist whose work has appeared in PANK, Crab Fat Magazine, The Fem, Juked, Sundog Lit, and others. She has performed her poetry and worked as an actor on stages across Chicago and in Washington, DC, as well as on film and television. You can learn more about her work at

Jeffrey Michael Austin is an interdisciplinary artist, musician and educator based in Chicago. Austin currently produces music with Growing Concerns Poetry Collective, and his visual artwork has been exhibited nationally and internationally, recently including such venues as Société d'Électricité (Brussels), The Luminary (St. Louis), Chicago Artists Coalition, Hyde Park Art Center, Ed Paschke Art Center, Le Carreau de Cergy (Paris), Kunstenfestival Watou (Belgium), The University of North Texas Art Galleries, Lehr Zeitgenössische Kunst (Berlin), The Museum of Contemporary Art Chicago, Fondation Vasarely (Aix-en-Provence), The Mission, The Franklin, and Manifold, a partner of ACRE Artist Residency. Austin studied at Columbia College Chicago and the Burren College of Art in Ireland before eventually receiving his BFA from The School of The Art Institute of Chicago.

Learn more about Growing Concerns Poetry Collective

Follow on Instagram via @growingconcernspoets.

Announcing: 'Ma(s)king Her: Black Feminist Futures' by Honey Pot Performance by Candor Arts

We are thrilled to announce the forthcoming artist book edition Ma(s)king Her: Black Feminist Futures by Honey Pot Performance


In conjunction with Shift, HPP's second annual gala, we will be releasing a handmade artist book edition comprising material and essays surrounding their 2016 work Ma(s)king Her

About Ma(s)king Her: Black Feminist Futures

Ma(s)king Her is a dance theater work addressing the absence of women of color in speculative fiction as empowered future beings and journeywomen. Aligned with AfroSurrealism and Black feminist thought, this modern folktale emphasizing the urgency of creating alternative worlds and economies of value and need, particularly for women of color in a world that often subjugates their collective presence to silence and/or invisibility.

Futurewomena web series created in collaboration with Aymar Jean Christian’s Open TV platform closely documents Ma(s)king Her and HPP's creative process. 

About Honey Pot Performance

Honey Pot Performance is a creative Afro-diasporic feminist collaborative committed to documenting and interrogating fringe subjectivities amidst the pressures of contemporary global life.

Honey Pot Performance enlists modes of creative expressivity to examine the nuances of human relationships including the ways we negotiate identity, belonging and difference in our lives and cultural memberships. Dismantling the vestiges of oppressive social relationships is part of the work. Through critical performance, public humanities programming, and deep community engagement, we emphasize everyday ways of valuing the human.

Following in the footsteps of cultural workers such as Zora Neale Hurston, Beryl McBurnie, Pearl Primus and Katherine Dunham, Honey Pot Performance forefronts African diasporic performance traditions. We draw upon a central notion found in performance studies, black feminist discourse and sociology: non-Western, everyday popular and/or folk forms of cultural performance are valuable sites of knowledge production and cultural capital for subjectivities that often exist outside of mainstream communities.