Founded in 2005, The Green Lantern Press is an artist-run, nonprofit organization dedicated to the production, integration, and dissemination of contemporary art, literature, and philosophy. Head quartered at Sector 2337, the press produces noncommercial works: experimental art exhibits, critical print publications, and free public programs that facilitate the growth and development of select artist projects, while engaging the surrounding community. In a world where the humanities must often defend themselves, The Green Lantern Press offers intimate examples of creative thought, demonstrating the value of artistic and intellectual pursuits in the public sphere.

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  • On Civil Disobedience: Pamphlet Series Subscription Package

    Ravi Agarwal, Robin Blaser, Romi Crawford, Ilona Gaynor, Stephen Lapthisophon, Nathaniel Mackey, Abhishek Narula, Nina Power, Jennif(f)er Tamayo, and others


    On Civil Disobedience is a monthly pamphlet series featuring writers from a range of professional backgrounds to contribute essays addressing the title topic. The series will recall historical precedents set by Thoreau, Gandhi, King, Arendt and others while considering the pamphlet’s important role in American revolutionary history. Filtering civic responsibility through the combined awareness of histories and disciplines, we hope these essays will ask how citizenship and resistance intersect within the pledge of democratic ideals. Designed by Dakota Brown, confirmed contributors thus far include Ravi Agarwal (Environmental Activism), Robin Blaser (Poetry), Romi Crawford (Race and Affect Theory), Ilona Gaynor (Design), Stephen Lapthisophon (Art and Theory), Nathaniel Mackey (Poetry), Moshe Marvit (Labor Law), Abhishek Narula (Data Engineering), Nina Power (Feminist Theory), and Jennifer Tamayo (Poetry). Subscribe and be the first to receive your copy in the mail. Series launches Fall of 2017.

    Annual subscribers receive 12 issues of On Civil Disobedience once a month by mail (shipping included), receive a free tote bag, and have the first opportunity to RSVP to monthly reading groups that meet at Sector 2337 to discuss each pamphlet. Your support goes towards writer honorariums as well as printing and design costs affiliated with the series.

  • Imperceptibly and Slowly Opening

    Giovanni Aloi, Kristina Chew, Every house has a door, Brooke Holmes, Karen Houle, Joela Jacobs, Ronald Johnson, Devin King, Eben Kirksey, Deanna Ledezma, Renan Laru-an, Michael Marder, Nathanaël, Chantal Neveu, Mark Payne, Caroline Picard, Catriona Sandilands, Steven Shaviro, Eleni Sikelianos, Monica Westin, & Leila Wilson


    Vegetal life forms are banal in their ubiquity. Undeniably alive, yet silent, they creep upwards, their roots submerged and out of human sight. Like anarchists protesting order, weeds break through concrete. Plants challenge theoretical logic as well; they can be both one and many: Aspen trees growing on a hillside share a single root system. Plants have occupations and desires: engaged in constant growth, they spread out with a will to consume and occupy space. Studies confirm that plants communicate and activate built-in chemical defense mechanisms to ward off predators. Some even move visibly: Mimosa plants close in on themselves when touched by a human finger. This would suggest some kind of sentience, but what would the character of that sentience be? How do we quantify it? Imperceptibly and Slowly Opening highlights the inaccessible subjectivity that plants possess. In this volume, artists and writers reflect upon plant life as it troubles both physical and ideological human spaces. Featuring artists Sebastian Alvarez, Katherine Behar, Srijon Chowdhury, Katy Cowan, Zoe Crosher, Lindsey French, Essi Kausalainen, Joshua Kent, Deanna Ledezma, A. Laurie Palmer, Wilfredo Prieto, Steve Ruiz, John Steck Jr., Linda Tegg, & Andrew Yang.

    “The absolute pillar of modern philosophy is the notion that human thought is something ontologically different in kind from everything else. The gap between chunks of iron on one side and chimps and dolphins on the other is supposedly nothing compared to the perilous leap from ‘sentient’ chimps and dolphins to ‘sapient’ humans. The present anthology reminds us of just how much may be going on with intelligence outside of humans. This makes it another important contribution to the non-modern philosophy of the future.” — Graham Harman

    “As with most Green Lantern Press publications, Imperceptibly and Slowly Opening unfolds in intricate evolutions, which in the context of biology and human thought (two ever-adaptable branching systems) is no less discerning on the delicate nature between the nearly imperceptible progressions that constitute viewing, seeing, and experiencing the anthropocene.” —Stephanie Cristello

    “Reading this collection of works about plants is akin to venturing out on a hike through unfamiliar woods.  The environment feels familiar and inviting and yet, things are different, unexpected, and sometimes thrilling.  The works appear with their own organic logic and cadence.  Most importantly, what you receive from them depends to a great deal on what you brought with you to the woods and on how closely and patiently you are willing to look, how open you are to escaping your own expectations or preoccupations.  And you’ll certainly find spots that you’d hope to return to again some day to seek that fleeting inspiration it offered the first time around.” — Chuck Cannon

  • Zenith

    Patrick Durgin


    Zenith (2015-2016) is the third in a series of printed objects or “artist’s books” by Patrick Durgin, each with the dimensions of a 7” vinyl record. Zenith is a set of seven scratch off cards with the revelatory promise of pre-loaded Macintosh desktop wallpaper images, e.g. of a pinkish Mt. Fuji, or prairie grasses dangling in the breeze. Zenith cites a history of broadcast technology, addiction as a faultless economic engine, and gaming as a way to withhold suspense.

    Durgin began the series in 2013 with Daughter. Daughter is a set of offset prints, photographic details of preliterate “writing” alongside the iconic imagery of early childhood educational materials—especially sticker books that introduce and enforce monstrous race, class, and gender norms as platforms for developing fine motor skills. Next was Singles (2014): a set of 3-D acrylic prints, unplayable records whose faux center labels feature minimalist couplets concerning skeuomorphic nostalgia and contemporary artisanal capitalism. (For more on Singles, read “Witness My Own” at Jacket2.)

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