Draw It with Your Eyes Closed: the Art of the Art Assignment is a unique and wide-ranging anthology featuring essays, drawings, and assignments from over one hundred contributors including John Baldessari, William Pope.L, Mira Schor, Rochelle Feinstein, Bob Nickas, Chris Kraus, Liam Gillick, Amy Sillman, James Benning, and Michelle Grabner. Bringing together assignments, anti-assignments, and artworks from both teachers and students from a broad range of institutions, we hope it simultaneously serves as an archive and an instigation, a teaching tool and a question mark, a critique and a tribute.

Sara Greenberger Rafferty

The first small book from Paper Monument, originally published in 2009 and now in its sixth printing. Features contributions from thirty-eight artists, critics, curators, and dealers on the sometimes serious and sometimes ridiculous topic of manners in the art world.

For NDP#3 and NDP#4, Sara Greenberger Rafferty, another artist committed to collaboration and artist-produced publications, joined North Drive Press as co-editor. Sara and Matt expanded North Drive Press to include exhibition and print publishing programs—separate from but complementary to the annual NDP publication. They organized an evening at New York’s performance venue The Kitchen, published a suite of Exquisite Corpse prints, and exhibited at NADA and various other venues.

For NDP#3 and NDP#4, Sara Greenberger Rafferty, another artist committed to collaboration and artist-produced publications, joined North Drive Press as co-editor. Sara and Matt expanded North Drive Press to include exhibition and print publishing programs—separate from but complementary to the annual NDP publication. They organized an evening at New York’s performance venue The Kitchen, published a suite of Exquisite Corpse prints, and exhibited at NADA and various other venues.

Sara Greenberger Rafferty

This binder is organized around eight topics, each offering a constellation of questions as a way to navigate our image-saturated world. The topics build on one another and shape a multidimensional perspective of photographs as objects and images, as agents of history and instigators of contemporary conversations. As imaging technologies evolve, so does our thinking around what we see—everything from a vintage black-and-white print to an image manipulated on a mobile device—and how we see. Hence, we draw on the work of artists, scholars, and teachers who urge us to look in-depth and with care, and offer myriad ways for ...