Founded in 2005, the Green Lantern Press (GLP) is an artist-run, 501(c)(3) nonprofit publishing house dedicated to the support, production, and dissemination of contemporary art, poetry, and philosophy. As a roving operation without physical headquarters, the GLP produces critical print publications, as well as related art exhibits and cultural events that promote public discussion and community. We are committed to funding artists in the commission and development of new work that brings forth ethical questions about how to ensure a more equitable and sustainable life for all. Since inception, the GLP has organized over 250 events and exhibitions while publishing more than 40 paperback editions in a range of genres from contemporary art, critical theory, fiction, and poetry.

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Exhibitions

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Publications

  • Fleeting Monuments for the Wall of Respect

    $12 (Fall 2019)

    The Wall of Respect, a 1967 public artwork, depicted black heroes and heroines in the areas of music, art, literature, politics, and sports. No sign indicates its existence today, but the wall sparked a nationwide mural movement, platformed community engagement, and was a seminal work of the black arts movement. While the wall needs to be marked, this new publication, Fleeting Monuments for the Wall of Respect, argues against making a monument of the original site. Instead, editor Romi Crawford asked a range of artists, designers, and architects—each with differing degrees of proximity to the wall’s legacy—to realize antiheroic and unstatic strategies for commemoration. The result is a collection of “fleeting monuments” that invite readers to enact these gestures, either in mind or real time. Using the intimate and portable book format, Fleeting Monuments for the Wall of Respect commemorates the wall while proposing new strategies for embodied public memory.

    Artist contributors include: Miguel Aguilar, Wisdom Baty, Mark Blanchard, Bethany Collins, D. Denenge Duyst-Akpem, Julio Finn, Maria Gaspar, Wills Glasspiegel, Stefano Harney and Fred Moten, Kelly Lloyd, Faheem Majeed, Nicole Mitchell, Naeem Mohaiemen, Amus Mor, Karega Kofi Moyo, Robert E. Paige, Kamau Amu Patton, Jefferson Pinder, Cauleen Smith, Rohan Ayinde Smith, solYchaski, Norman Teague, Jan Tichy, Mechtild Widrich, Bernard Williams, and Lauren Berlant.

    About the editor: Romi Crawford, is professor in the Visual and Critical Studies and Liberal Arts Departments at the School of the Art Institute of Chicago. Her research revolves primarily around formations of racial and gendered identity and the relation to American visual arts, film, and popular culture. She makes regular contributions to publications on African American art and culture including, Theaster Gates, Black Archive (Kunsthaus Bregenz, 2017); “Do For Self: The AACM and the Chicago Style” in Support Networks (University of Chicago Press, 2014); and “Ebony and Jet On Our Minds…In Our Homes. On the Wall” in Speaking of People: Ebony, Jet and Contemporary Art (Studio Museum in Harlem, 2014). She is coauthor (with Abdul Alkalimat and Rebecca Zorach) of The Wall of Respect: Public Art and Black Liberation in 1960s Chicago (Northwestern University Press, 2017). Crawford was cocurator (with Lisa Lee) of the 2017 Open Engagement Conference, themed “Justice.”

    This publication is graciously funded with support from the Graham Foundation.

  • Candida Alvarez / HERE: A Visual Reader

    $30 Pre-order your copy here for March 2020 delivery

    Featuring contributions from Elizabeth Alexander, Dawoud Bey, Coco Fusco, Kellie Jones, Elizabeth Murray, Terry R. Myers, Daniel R. Quiles, Kay Rosen, Daniel Schulman, Lowery Stokes Sims, and Rebecca Walker. Introduction by editors Fulla Abdul-Jabbar and Caroline Picard; book design by Sonnenzimmer.

    Candida Alvarez. Here was the artist’s first major institutional exhibition, taking place at the Chicago Cultural Center and reflecting forty years of her painting. Embracing and further contextualizing her work, Candida Alvarez: Here. A Visual Reader features full-color reproductions of individual artworks and views of the exhibition as well as images from her Fall/Winter 2017 menswear collaboration with Rei Kawakubo for Comme des Garçons. Edited by Fulla Abdul-Jabbar and Caroline Picard, this book presents a selection of articles from 1983 to the present; conversations between Alvarez and Dawoud Bey, Kay Rosen, Daniel Schulman, and Rebecca Walker; and newly commissioned texts including a prose response by Elizabeth Alexander as well as essays by the exhibition’s curator, Terry R. Myers, and art historians Kellie Jones and Daniel R. Quiles. Candida Alvarez: Here. A Visual Reader thus captures Alvarez’s work in print to spark further conversations about her legacy.

    About the artist: Candida Alvarez is an artist who responds through intuition and imagination to intimate moments in life. Her paintings, drawings, and collages blur the boundaries between the conceptual, the intuitive and the abstract. Alvarez received a MFA from the Yale School of Art in Painting and Printmaking in 1997. She attended the Skowhegan School of Painting and Sculpture in the summer of 1981 and received her BA from Fordham University, Lincoln Center, in 1977. Her work is currently in the public collections of the Addison Gallery of American Art, the Whitney Museum of American Art, The Studio Museum in Harlem, El Museo del Barrio, and the Virginia Museum of Fine Arts. Alvarez holds the distinguished F. H. Sellers Professorship in Painting at the School of the Art Institute of Chicago. During 2010–12, she was interim Graduate Dean at SAIC. She is represented by Gavlak, Los Angeles/Palm Beach, and Monique Meloche Gallery, Chicago. Alvarez is the recipient of a Joan Mitchell Foundation 2019 Painters & Sculptors Grant.

  • Holy Shit / Novo en el Mictlán

    Luis Felipe Fabre
    Translated by John Pluecker

    $15 (Summer 2020)

    Mexico City poet, Luis Felipe Fabre’s new book about Salvador Novo (1904-1974), Escribir con caca  was originally published by Sexto Piso in 2017. Novo is one of the most fascinating and enigmatic figures of contemporary Mexican literature, garnering critical attention from the likes of Octavio Paz, Carlos Monsiváis, and Guillermo Sheridan. However, due to the broad spectrum of genres and registers that Novo embraced, his own suspicion of his poetry (or poetry in general), his extroverted homosexuality in an openly intolerant era, or his controversial political positions, Novo remains peripheral to mainstream literature. Fabre’s provocative poetic essay attends to those questions and the resulting book is sure to occupy a prominent place in Novo’s bibliography.

    Luis Felipe Fabre was born in Mexico City in 1974. He has been awarded grants from the National Fund for Culture and the Arts in the category of Young Artists in the periods 2004–5 and 2007–8, and is a member of the Sistema Nacional de Creadores de Arte. He has published a volume of essays, Leyendo agujeros. Ensayos sobre (des)escritura, antiescritura y no escritura (2005), and the poetry collections  Cabaret Provenza (2007) and La sodomía en la Nueva España (2010), and is the editor of the anthology Divino Tesoro. Muestra de nueva poesía mexicana (2008).

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