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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  • Fleeting Monuments for the Wall of Respect

    Forthcoming: Spring of 2019 / This publication is graciously funded by the Graham Foundation.

    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.”

  • Elevated Threat Level

    New lyric poetry by Rachel Galvin explores an ethical response to American comfort and its ties to war and exploitation. The poems in this collection reflect on news reporting, natural disasters, journalist safety, and the act of observing war from a distance as a civilian. Written in a variety of forms and registers—from elegies to faits divers to sonnets—Elevated Threat Level thinks about violence and the rhetoric used to convey it. The book is also a tribute to the print form of the newspaper.

    From Elevated Threat Level: 
    In Wartime There Are No Civilians
    But you weren’t there when the house was bombed, what could you tell them?
    You hadn’t seen the girl chain herself down either.
    And if you had, you wouldn’t remember it now.
    Their badges weren’t written in your language.
    High-octane fuel, they said.
    A dog crouched nearby, they said.
    The referent eludes you, keeps eluding you.
    Damn the cages, damn the metal works, this place
    is a hinterland of bulldozers and people
    whose chests crack open in their path.

    Praise for the book:
    Perhaps every poem is a riddle for which the answer is the poem itself. Perhaps each of these adroit lyrics by the poet, critic, translator, and activist Rachel Galvin is a riddle for which the answer is the entire world in all its sad, brutal, and delightful contradiction. For surely every brief lyric in this book feels simultaneously triaged amidst a world of active damage and precisely poised, resourceful, nimble as a needle, quick as a stitch.  For surely every brief lyric in this book has the dazzle and dismay of a candle, just as it goes out. –Joyelle McSweeney

    These ingenious, funny-sad, empathic poems are woundingly precise in their exposure of a pattern of world-damage, of power misused “in our name.” The recent history spotlighted in Galvin’s poems is nauseating, but it’s rendered with such pleasurably incisive phrasing and sonic swerve that I look up from the book awake, clarified, galvanized to face again the music and the news. –Catherine Wagner

    About the author:
    Rachel Galvin is the author of News of War: Civilian Poetry 1936-1945 (Oxford UP, 2018) and co-editor, with Bonnie Costello, of Auden at Work (2015) and a poetry collection titled Pulleys & Locomotion (2009). She is translator of Raymond Queneau’s Hitting the Streets (2013) and co-translator, with Harris Feinsod, of Decals: Complete Early Poetry of Oliverio Girondo (Open Letter Books, 2018). Poems and translations appear in The Boston Review, Colorado Review, Drunken Boat, Gulf Coast, MAKE, McSweeney’s, The New Yorker, PN Review, and Poetry. Her criticism appears in Comparative Literature Studies, ELH, Jacket 2, MLN, and Modernism/modernity. She is a co-founder of Outranspo, an international creative translation collective. Galvin is an assistant professor of English at the University of Chicago.


    Mark Booth, Alexandria Eregbu, Simone Forti, Becky Grajeda, Hannah B Higgins, Terri Kapsalis, Tim Kinsella, Anne Elizabeth Moore, Dao Nguyen, Caroline Picard, Jeffrey Skoller, and Shawn Michelle Smith


    Shadowed! confronts the slippage of time and action within Ellen Rothenberg’s exhibition elsetime. Sweeping through the studio of Bertolt Brecht, Woodstock in the sixties, Berlin in the nineties, and the Syrian protests of today, Shadowed! projects a dispersive, unfolding temporality. Beginning with a suite of elsetime photographs, the book continues with reflections on the show by Hannah B Higgins, Jeffrey Skoller, Caroline Picard, and Shawn Michelle Smith—spreading out from there into an artist’s archive that includes scanned fragments of writings by Stefan Brecht,  Allen Ginsberg, Angela Davis, and  transcribed contributions from  Simone Forti. A subsequent section includes documentation of performances produced in response to elsetime by artists, activists, and musicians. Shadowed! ends with the transcript of a public conversation that took place within the original exhibit, capturing a discussion that incorporates an active audience. By layering these performative, photographic, and written encounters, Shadowed! allows the afterimage of an exhibition to unfurl beyond the gallery, beyond this book, and into its own elsetime.

    “Ellen Rothenberg’s multimodal installation elsetime interlaced performance actions, installation, objects, public invitations to fellow artists, and visual essays. In this beautiful and thoughtfully designed book, you’ll find each of these aspects explored anew as though readied for further action. New pieces by collaborators enter the scene and become enmeshed in photographic echoes from ‘60s collective rallying, music documentary, contemporary migrancy, material icons, and the live events generated during the exhibition. The great exclamation mark of the title brings all these absents squarely into view, while posing the pressing question: how does one avoid reenacting shadows from the past!” —Caroline Bergvall, artist, writer, performer, and author of Drift.

    “The four essays ground readers in specific moments in the vast expanse of history that Rothenberg’s work engages from the 1930s to the present. Together, these essays help unpack the labyrinth of meanings and allusions that each of Rothenberg’s objects offers. The writers reveal what Rothenberg initiates in ‘elsetime’: that histories change as different objects consume divergent subjectivities and as bodies come together to interact with them and their surrounding architectures.” —Newcity




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