CRB offers for sale over one thousand titles on art, design, architecture, poetry, film, and critical theory by writers, publishers, and cultural institutions from around the world. The inventory is provided in part by Berlin-based publisher and distributor Motto Books, with direction about particular themes, ideas, and artists occupying our attention at a given moment. Our inventory also reflects conditions closer to home—the cultural, urban, and academic contexts of the Bay Area and California—with books by nearby writers, publishers, and artists.→
If you have any questions about our inventory, email Wei Wang→, CRB Bookshop Coordinator.
Visit the CRB at 701 Mission Street, San Francisco, to purchase books.→
Bookshop / Selected Titles
Olafur Eliasson, “What Is an Art Education?,” in School: A Recent History of Self-Organized Art Education, ed. Sam Thorne (Berlin: Sternberg, 2017).
In this interview with Sam Thorne, Director of Nottingham Contemporary, Eliasson talks about his five-year school program organized around shared meals, food experiments, hospitality, social gatherings and the projection of learning outside the walls of an academy, alongside a host of intersecting practitioners and visitors.
Olafur Eliasson is an Icelandic-Danish artist who led the Institut für Raumexperimente (Institute for Spatial Experiments), an experiment in arts education affiliated with the Berlin University of the Arts.
Pamela Lee, “The Social History of Art: On ‘In the Belly of Anarchitect,” in Kunst Lehren Teaching Art, Heike Belzer and Daniel Birnbaum (Köln: König Books, 2007).
Invited to visit and conduct a workshop at the renown Städelschule and its exhibition program Portikus in Frankfurt, Lee reflects on the value of transforming and interweaving academic and exhibition spaces into shared social sites for learning from one another, all examined within the context of Gordan Matta-Clark’s pioneering work “Food.”
Pamela M. Lee is Professor of Modern and Contemporary Art at Yale University.
“How can we imagine a school culture based on solidarity?,” Ahmet Ögüt in conversation with Florian Malzacher, and Pelin Tan, “The Silent University as an Instituent Practice,” in The Silent University: Towards a Transversal Pedagogy, eds. Florian Malzacher, Ahmet Ögüt, and Pelin Tan (Berlin: Sternberg, 2016).
The Silent University (2012–) is the artist Ahmet Ögüt’s ongoing project which brings together a peripatetic network of teachers, researchers, and fellows who participate in education models that support refugees, asylum seekers, and migrants. The interview between Ögüt and Florian Malzacher is an introduction to The Silent University, exploring the pedagogical benefit of pulling together regional intellectual and creative communities into a shared learning site, while Pelin Tan’s essay looks at The Silent University as an artistic practice and how it embodies facets of research, collaboration, and social engagement.
Ahmet Ögüt is a Turkish artist based in Amsterdam. Florian Malzacher is Artistic Director of Impulse Theater Festival in Düsseldorf, Cologne, and Mülheim/Ruhr. Pelin Tan is Associate Professor in Architecture at Mardin Artuklu University in Turkey.
Friedrich Nietzsche, Anti-Education: On the Future of Our Educational Institutions (1872), ed. Paul Reitter and Chad Wellmon (New York: New York Review Books, 2016).
In 1872, Nietzsche delivered this series of lectures critically reflecting on the role of academic specialization and the increasing instrumentalization of education for a specific outcome and function.
Friedrich Nietzsche (1844–1900) was a German philosopher who was appointed at the age of twenty-four to faculty at University of Basel.
Allan Sekula, “School Is a Factory,” in The Phantom of Liberty: Contemporary Art and the Pedagogical Paradox, eds. Tone Hansen and Lars Bang Larson (Berlin: Sternberg, 2014).
In this photo essay and accompanying postscript, Sekula reflects on education as another form of industrial production in capitalism where artist, teacher, and institution perform engrained regulatory roles in arts education as part of a capitalist functionary that upholds the myth of the artist figure.
Allan Sekula (1951–2013) was an American artist who produced his photo essay “School Is a Factory” while a visiting art lecturer from 1978 to 80 (with a postscript written in 1982).
Chus Martinez, “Time to be Loose,” in Forms of Education: Couldn’t Get a Sense of It, ed. Aeron Bergman, Alejandra Salinas, and Irena Borić (Portland, OR: Institute for New Connotative Action Press, 2016).
In this essay Martinez reflects on the value of reinserting open-ended and “looseness of thinking” back into an academic curricula for the arts, which have increasingly become rigid and time-constrained.
Chus Martinez is Head of the Institute of Art at the FHNW Academy of Art and Design in Basel.
“Practice,” Mary Jane Jacob, in Jacob, Dewey for Artists (Chicago: University of Chicago Press, 2018).
In this chapter titled “Practice” of Mary Jane Jacob’s book the author explores a wide-ranging perspective on creative practice through work, communication, community, and general attention to daily life, examined through the lens of John Dewey’s philosophy on the aesthetic experience of everyday life.
Mary Jane Jacob is professor and director of the Institute for Curatorial Research and Practice at the School of the Art Institute of Chicago.
Karen van den Berg, “Fragile Productivity: Artistic Activities beyond the Exhibition System,” in Art Production beyond the Art Market, eds. Karen van den Berg and Ursula Pasero (Berlin: Sternberg, 2013).
This essay explores the different directions an artist can take today, from artist as researcher and social engineer, to project developer and activist, along with analyzing the requisite educational tools and perspectives needed for work beyond the art market.
Karen van den Berg is Professor Art Theory and Curating at Zeppelin University in Friedrichshafen, Germany.
Lars Bang Larsen, “The Mass Utopia of Art Activism: Palle Nielsen’s ‘The Model—A Model for a Qualitative Society,” in Palle Nielsen—The Model: A Model for a Qualitative Society (1968), ed. Lars Bang Larsen (Barcelona: Museu d’Art Contemporani de Barcelona, 2010).
Using the little known exhibition called The Model, which occurred at the Moderna Museet in Stockholm in 1968 where the museum was transformed into a massive playground, Lars Bang Larsen explores in this essay the important role of unstructured play in education.
Lars Bang Larsen is Professor at Haute École d’Art et de Design (HEAD) in Geneva.
Stefan Hertmans, “Masters of Unpredictability: Academies and Art Education,” in Teaching art in the Neoliberal Realm: Realism versus Cynicism, eds. Pascal Gielen and Paul De Bruyne (Amsterdam: Valiz, 2013).
In this essay Stefan Hertmans provides in-depth analysis on the paradoxical position of art education today to provide students routes toward economically sustainable futures while refuting the instrumentalization of education under increasing pressures from the arts and culture industries.
Stefan Hertmans is writer, poet and essayist on art education. He served previously as head of the study center at the University College Ghent.
Alexander Kluge (Berlin: Motto Books, 2018)
Julieta Aranda, Brian Kuan Wood, Anton Vidokle, eds. (London/New York: Verso, 2017)
Anette Baldauf, Stefan Gruber, Moira Hille, Annette Krauss, Vladimir Miller, Mara Verlič, Hong-Kai Wang, Julia Wieger, eds. (Berlin: Sternberg Press, 2017)
Céline Condorelli (Berlin: Sternberg Press, 2014)
Nick Axel, Nikolaus Hirsch, Ann Lui, and Mimi Zeiger, eds. (Los Angeles: Inventory Press, 2018)
Paul De Bruyne, Pascal Gielen eds. (Amsterdam: Valiz, 2012)
John Byrne, Elinor Morgan, November Payton, Aida Sánchez de Serdio, Adela Železnik eds. (Amsterdam: Valiz 2018)
Pascal Gielen, ed. (Amsterdam: Valiz, 2013)
Pascal Gielen, ed. (Amsterdam: Valiz, 2015)
Paul De Bruyne, Pascal Gielen, eds. (Amsterdam: Valiz, 2012)
Guy Cools, Pascal Gielen, eds. (Amsterdam: Valiz, 2014)
Aram Moshayedi, Ike Onyeruenyi, eds. (Los Angeles: Prestel, 2018)
Laura Preston, ed. (Berlin: ATLAS Projectos and Wellington: Adam Art Gallery, Victoria University of Wellington, 2018)
(Los Angeles: LATU I SILA, 2018)
Adam Stamp (Los Angeles: NEW LOW, 2018)
Steve Thomsen (Fredonia, AZ: self-published, 2018)
Neil Doshi (Joshua Tree, CA: 2018)
Daniel Malone (Warsaw: Foksal Gallery, 2013)
Francesca Bertolotti-Bailey, Stuart Bertolotti-Bailey, Angie Keefer, Lauren Mackler, David Reinfurt, eds. (Amsterdam: Roma Publications, 2018)
Nicholas Mangan (Berlin: Sternberg Press, 2017)
Clementine Deliss, Yvette Mutumba, eds. (Zurich: Diaphanes, 2014)
Jeffrey T. Schnapp, ed. (Los Angeles: Inventory Press, 2016)
Pascal Gielen, ed. (Amsterdam: Valiz, 2015)
Aeron Bergman, Alejandra Salinas, Irena Borić, eds. (Portland: Institute for New Connotative Action, 2016)
Lars Bang Larsen, ed. (Barcelona: MACBA Collection, 2010)
Mary Jane Jacob (Chicago: The University of Chicago Press, 2018)
Gerald Raunig (Cambridge, MA: MIT Press, 2013)
Kitty Scott, ed. (Cologne: Koenig Books, 2011)
Robert J. Kett and Anna Krycz, eds. (Chicago: Soberscove Press, 2014)
Florian Malzacher, Ahmet Öğüt, Pelin Tan, eds. (Berlin: Sternberg Press, 2016)
Zak Kyes, ed. (Berlin: Sternberg Press, 2012)
Leigh Markopoulos, ed. (Cologne: Koenig Books, San Francisco: CCA Graduate Program in Curatorial Practice, 2016)
Claire Fountaine (Paris: Éditions Dilecta, 2009)
Taslima Ahmed, Manuel Gnam (Berlin: Art Against Art, 2017)
Zoë Gray, Robert Hamelijnck, Nienke Terpsma, Adrian Searle, Dirk Snauwert, Erik van Lieshout (Berlin: Koenig Books, 2017)
Mary Lum (Buffalo, NY: Hallwalls Contemporary Arts Center, 1999)
Sarah Thornton, ed. (San Francisco: Jessica Silverman Gallery, 2015)
David Campbell, Mark Durden (Liverpool University Press, 2008)
Aleksandra Mir (Berlin: Lukas & Sternberg, 2003)
Karen Archey, Metahaven, eds. (Amsterdam: Valiz, 2018)
Uli Cluss, Christian Jankowski, eds. (Stuttgart: State Academy of Fine Arts; San Francisco: California College of the Arts, 2007)
Dreiger and Heidrun Holzfeind (Baden, Switzerland: Kodoji Press, 2017)
Dirk Snauwaert, ed. (Brussels: WIELS and Mercatorfonds/Fonds Mercator, 2017)
Beatrice von Bismarck, Benjamin Meyer-Krahmer, Thomas Wesk (Berlin: Sternberg Press, 2016)
Stephen Willats (Manchester: Research Group for Artists Publications, 2012)
Adair Rounthwaite (Minneapolis: University of Minnesota Press, 2017)
Magdalena Malm, Annika Wik, eds. (Stockholm: Art and Theory Publishing, 2013)
Carolina Porras, Alicia Toldi, eds. (Piney Woods Atlas, 2017)
Julieta Aranda, Brian Kuan Wood, Anton Vidokle, eds. (London: Verso, 2017)
Giovanna Silva (Berlin: Motto Books, 2017)
Megan Carey, Will Bradley, Kate Fowle, eds. (San Francisco: California College of the Arts, 2007)
Pavlo Makov (Ukraine: IST Publishing, 2017)
Lori Waxman (Berlin: Sternberg Press, 2017)
Tessa Rosebrock, Filip L. Demeyer, Till-Holger Borchert, Hubert De Witte (Cannibal Publishing, 2015)
Danica Michels Hodge, Jane Hyun, eds. (San Francisco: Fine Arts Museum of San Francisco, 2015)
Elisheva Biernoff (San Francisco: RITE Editions, 2016)
David Blamey and Brad Haylock, eds. (London: Open Editions, 2018)
Jeff Khonsary, ed. (Los Angeles/Vancouver: New Documents, 2018)
Elena Filipovic, Chris Ofili, Robert Storr, Massimiliano Gioni, Natalie Bell, eds. (New York: New Museum, Basel: Kunsthalle Basel, 2016)
Dorothée Dupuis, ed. (Mexico City: Terremoto, Berlin: Motto Book, Spring 2018)
J. Myers-Szupinska and Rosa Tyhurst, eds. (San Francisco: CCA Graduate Program in Curatorial Practice, 2018)
Jason Farago, ed. (New York: Even, Spring 2017)
Nathaniel Mellors, ed. (Eindhoven: Onomatopee, 2010)
San Francisco: Southern Exposure, 2016
J. Myers-Szupinska and Amanda Nudelman, eds. (San Francisco: CCA Graduate Program in Curatorial Practice, 2018)
Tel Aviv: Braunschweig, Milan: Mousse Publishing, 2011
Münster: Westfälischer Kunstverein, Berlin: Motto Books, 2018
Julian Myer and Leigh Markopoulos, eds. (San Francisco: CCA Graduate Program in Curatorial Practice, 2010)
Koyo Kouoh, ed. (Brussels: WIELS, Berlin: Motto Books, 2015)
Shelley Carr, Ziying Duan, Julian Myers-Szupinska (San Francisco: CCA Graduate Program in Curatorial Practice, 2016)
New York: Primary Information, 2017
Stuart Bailey, Angie Keefer, David Reinfurt, eds. (Berlin: Sternberg Press, New York: Dexter Sinister, Fall 2011)
London: Eros Press, 2016
Liz Glass, Susannah Magers, Julian Myers (San Francisco: CCA Graduate Program in Curatorial Practice, 2011)
New York: Primary Information, 2014
Caitlin Burkhart and Julian Myers-Szupinska (San Francisco: CCA Graduate Program in Curatorial Practice, 2015)
Antonia Hirsch, ed. (Vancouver: Filip Editions, 2012)
Lisa Guedel-Dolle (Berlin: Motto Books, 2017)
Julian Myers and Joanne Szupinska, eds. (San Francisco: CCA Graduate Program in Curatorial Practice, 2010)
(Vevey, Switzerland: SWTY Publishing, 2017)
Paul O’Neill and Mick Wilson, eds. (London: Open Editions, 2016)
Giovanni Carmine, Noma Jeane, eds. (Zürich: jrp ringier, 2004)
Paris, Centre Pompidou and Editions Dilecta, 2016
Monica Khemsurov, ed. (Berlin: mono.kultur, 2012)
Malene Landgreen (Copenhagen: New in the World, 2013)
Preston Zappas (Los Angeles: Contemporary Art Review Los Angeles, Fall 2015)
Henning Bohl (Kunsthalle Nürnberg, 2013)
Branden W. Joseph, ed. (New York: Primary Information, 2018)
Thomas Lawson (Los Angeles: East of Borneo Books, 2018)
Molly Nesbit (Los Angeles: Inventory Press, 2017)
Wellington: Adam Art Gallery, 2017
Gregorio Magnani, ed. (Hamburg: Kunstverein In Hamburg, Berlin: Motto Books, 2018)
Bookshop / Aperture
In 1952, the first issue of Aperture, a quarterly journal devoted to creative photography, launched in San Francisco. Founded by a small circle of photographers and critics—Minor White, Dorothea Lange, Barbara Morgan, Ansel Adams, Nancy and Beaumont Newhall, Ernest Louie, Melton Ferris, and Dody Warren—Aperture’s stated mission was to communicate with “serious photographers and creative people everywhere, whether professional, amateur or student.” Teacher, writer, and influential photographer Minor White serves as editor, and was involved until his death in 1976. In 1953 Aperture’s editorial offices move to Rochester, New York, and eventually New York City.
Aperture magazine has consistently claimed photography’s place in the contemporary arts while distributing images and writings by practitioners who challenge the limits of the medium. Recognizing both Aperture’s legacy and photography’s important history in San Francisco, Curatorial Research Bureau and the Aperature Foundation have partnered to regularly present a selection of recent issues of the magazine combined with archival issues (many featuring Bay Area luminaries) that exhibit a cross section of photography past and present.
Zackary Drucker, ed. (New York: Aperture Foundation, Winter 2017)
Sarah Lewis, ed. (New York: Aperture Foundation, Summer 2016)
Michael Famighetti, ed. (New York: Aperture Foundation, Summer 2014)
Carole Kismaric, ed. (New York: Aperture Foundation, Winter 1982)
Carole Kismaric, ed. (New York: Aperture Foundation, Summer 1983)
Michael Famighetti, ed. (New York: Aperture Foundation, Fall 2018)
Charles Hagen, ed. (New York: Aperture Foundation, Summer 1990)
Michael Famighetti, Melissa Harris, eds. (New York: Aperture Foundation, 2018)