Show Me the Line stickers

Show Me the Line Reliquary Kits

Show Me the Line Canvas bag

Letterpress Block prints

Limited edition Show Me the Line event poster hand crafted by our dear friend @lesueurcourtney 💙

11 x 17 inches

when you're in a pickle, this de-stressor stays by your side. squeeze it through the sour seasons.

2 x 4 inches

valid for all of life's sticky situations and bitter moments... also exists as a reminder that when you feel like shit, it is possible that you are just hungry. have a snack, squeeze a little stress out between your palms.

3 x 4 inches

collaboration between people i've loved and leah martha rosenberg, originally made for color factory NYC.

touched out? we feel you. (see what we did there?)

ward off intense fatigue by giving your body the breathing room it needs. we promise, it's allowed, and it's worth it!

3.5 x 7.75 inch door hanger. digitally printed on archival-quality card stock.

sometimes you need your people; sometimes you need your alone time. either way, we love you.

3.5 x 7.75 inch door hanger. digitally printed on archival-quality card stock.

published with big ndn press.

this landmark volume brings together a dynamic group of native north american contemporary artists, musicians, filmmakers, choreographers, architects, writers, photographers, designers, and more. conceived by renowned artist jeffrey gibson, who is of mississippi choctaw and cherokee descent, an indigenous present presents an increasingly visible and expanding landscape of indigenous creative practice.

the book centers individual artistic practices while acknowledging shared histories, creating a visual experience that highlights diverse approaches to concept, form, and medium. through themes of connection, influence, conversation, and collaboration, an indigenous present emphasizes the complexity and breadth of contemporary indigenous expression.

the volume foregrounds transculturalism over affiliation and contemporaneity over outdated categories, offering a more expansive understanding of indigenous creativity today.

this publication is dedicated solely to the early and canonical body of work by american artist carrie mae weems (born 1953). the 20 photographs and 14 text panels that make up kitchen table series tell the story of one woman’s life, unfolding within the intimate setting of her kitchen. the kitchen, one of the primary spaces of domesticity and a traditional domain of women, becomes the backdrop for exploring relationships—with lovers, children, friends—and the evolving sense of self through moments of strength, vulnerability, distance, tenderness, and solitude.

as weems describes it, this work explores “the battle around the family ... monogamy ... and between the sexes.” weems herself serves as the protagonist of the series, while the woman she portrays also represents a broader archetype. kitchen table series seeks to reposition and reimagine possibilities for women and people of color, exploring themes of identity, relationships, and, in the artist’s words, “unrequited love.”

widely considered one of the most influential living american artists, new york–based photographer and multimedia artist carrie mae weems (born 1953) has developed a practice celebrated for its exploration of cultural identity, power dynamics, intimacy, and social justice. through a body of work that challenges prevailing representations of race, gender, and class, weems examines the ways history and identity are shaped by visual culture.

defined by her use of photography, installation, film, and performance, her remarkably diverse and groundbreaking oeuvre questions dominant ideologies and historical narratives perpetuated through mass media. published in conjunction with her solo exhibitions at barbican art gallery london and kunstmuseum basel, this book brings together a selection of weems’ own writings, lectures, and conversations for the first time, offering personal insight into themes including the consequences of power, artistic appropriation, and the construction of history.

from the onset of her career, charlotte perriand was a maverick who believed in good design as a force for the betterment of society. many young designers would have been discouraged by a rejection from le corbusier’s studio, but when the renowned architect told her there was no place for a female furniture designer, perriand became even more determined to prove her abilities as an artist. under le corbusier, and long after leaving his studio, perriand’s contributions to furniture design and architecture demonstrated a unique sensitivity to the organic beauty of nature as well as the egalitarian possibilities of the machine age. her left-wing populist politics influenced much of her work, from modular furniture systems to major architectural projects.

this monograph explores perriand’s most celebrated interiors, original furniture designs, and architectural projects, as well as previously unpublished sketchbooks that offer new insight into her creative process and her lasting place in design history.

charlotte perriand (1903–99) experienced her first major breakthrough with le bar sous le toit, a 1927 interior design project that anticipated the elegant minimalism and utilitarian qualities that would define her later work. although she is perhaps best known today for her early chaise longue designs, perriand also developed plans for major buildings across europe and contributed interior designs to le corbusier’s unité d’habitation. she worked in locations as diverse as tokyo, rio de janeiro, and london in pursuit of creating accessible, human-centered design.

tracing the rich tradition of chinese patchwork art in domestic and rural spaces, from its ancient origins to its contemporary manifestations.