Research work and up-to-date CV (faculty page).
Of the Subcontract. Or Principles of Poetic Right, foreword by McKenzie Wark and afterword by Darren Wershler (York: Information as Material, 2013). PDF press release with contextual info. PDF excerpt: “Section 1: Artificial Artificial Intelligence: Poems 0.01-0.25”, pp. 19-48.
Do or DIY, with Craig Dworkin and Simon Morris (York: Information as Material, 2012). PDF of the full first edition (with covers). Online info here. Translations: Spanish, trans. Carlos Soto-Roman (Santiago: Das Kapital Books, 2013); German, trans. Annette Gilbert (Colgne: Salon Verlag, 2013).
THE DIE IS CAST, with Caroline Bergvall (York: Information as Material, 2009). Online info here.
Reading the Remove of Literature, edited with an introduction by Craig Dworkin (York: Information as Material, 2006). Online info here. PDF excerpt: “Chapter 7 Section 3: Characteristics of the Work of Art”, pp. 229-241 (printer's file).
“Andre After Andre”, series of typewriter poems, 2012-14, drafts of which were first published in The Dark Would: Anthology of Language Art (Manchester: Apple Pie Editions, 2012). Sample sheet 1, 140 x 210 mm acid free paper: Andre After Andre (The Way Up, Right, Down, Left) (upper left) and Andre After Andre (Stile) (lower right). Sample sheet 2, 140 x 210 mm acid free paper: Andre After Andre (Equivalence VIII).
“Esperanto Rhythm”, performance poem, length variable, first presented at Sucking on Words, Whitechapel Gallery (London, 2012). Live field recording of one later performance (January 2012) here (mp3).
“A Dress”, plain text poem written in 2011 and first published in abridged form in The Unexpected Guest: Liverpool Biennial 2012 (London: A/B, 2012). Full text here.
“Il” (2009), translation of “He” suite commissioned by Didier Matthieu and first editioned as a triptych of large format two-colour screen prints by Le Centre des Livres d'Artistes (Saint-Yrieix-la-Perche), 2010. Plain text versions here.
“He”, suite of three poems first editioned as a triptych of large format two-colour screen prints by Information as Material (York), 2009. Plain text versions here.
“THE IDEOLOGY OF DAVID CAMERON'S CONSERVATIVE PARTY”, first editioned as £1 postcard by Information as Material (York), 2009. JPG of the front of the postcard. Plain text process note from the back of the postcard, by Simon Morris, online here.
“Index”, a publication-specific poem derived from Reading the Remove of Literature and Historia Abscondita (An Index of Joy), re-performed in three slightly different styles for The Happy Hypocrite Journal, vol.1:1, vol.1:2, vol.1:4 (London: Bookworks, 2008, 2008, 2009). PDF of vol.1:1 version, PDF of vol.1:2 version; both courtesy of Bookworks (London).
“Erratum”, first published in a bound form in Parallax: Journal of Cultural Theory vol.14:2 (London: Routledge, 2008), but later re-published in the intended form of a two-sided loose-leaf errata sheet inserted into “Less is More: The Poetics of Erasure”, a special issue of The Capilano Review vol.3:7 (Vancouver: Capilano University Press, 2008). PDF of the second version, courtesy of The Capilano Press Society.
"Status_Anxieties", in Convolutions: The Journal of Conceptual Criticism vol.1:3 (New York: independent, 2014). PDF full text here, courtesy of Paul Stephens.
"The Mediatisation of Contemporary Writing", in The White Review online (London, September 2014). Full text online.
"Publishing as a Praxis of Conceptualist Reading Performances", in Journal of Writing in Creative Practice vol.6:3, ed. Jerome Fletcher (London: Intellect, 2014).
"Robert Fitterman's No, Wait. Yep. Definitely Still Hate Myself by Nick Thurston", in BOMB Magazine 127 (New York, spring 2014). Full text online.
"On Robert Fitterman's Holocaust Museum", in Flux Magazine (London, January 2014). Full text online.
"Pretty Brutal Speech: Kim Rosenfield's Lividity and Steven Zultanski's Agony, in BOMB online (New York, April 2013). Full text online.
"Seeing Ian Hamilton Finlay's Poetics: Alec Finlay's Selections and Thomas Clarke's A Model of Order", BOMB online (New York, April 2013). Full text online.
"dOCUMENTA 13: Writing's Retreat into the Context of Contemporary Art", in Afterall Online (London, October 2012). Full text online.
"Of the Subcontract: An Interview with Nick Thurston", with Stephen Voyce, in The Iowa Review vol. 43:3 (2014). PDF of full text here, courtesy The Iowa Review.
"Artists at Work: Nick Thurston", interview with Louise O'Hare (London), Afterall Online, August 2012. Full text online.
Since 2006 Thurston has been a co-editor of the independent publishing imprint, Information As Material, founded by English artist Simon Morris in York, England, in 2002. As a publisher, self-publisher and collective of editors, IAM (Craig Dowrkin, Simon Morris, Nick Thurston) is dedicated to exploring the critical and poetic praxis of publishing, building on small-press and DIY cross-cultural traditions as well as the expanded histories of conceptual poetry and art. An overview of the imprint's publications and projects can be found online here. Solo exhibitions dedicated to surveying IAM's work have been held at Johan Deumens Gallery (Haarlem, NL), the Laurence Sterne Museum at Shandy Hall (Coxwold), Whitechapel Gallery (London) and the Northern Gallery for Contemporary Art (Sunderland); project-specific solo and group exhibitions have been staged at numerous venues in Europe and North America. IAM publications are collected internationally but near-complete research archives are held at the Henry Moore Institute Library (Leeds, UK) and the Bard Centre for Curatorial Studies Library (Annandale-on-Hudson, USA).