In 1969, shortly after moving to Detroit with wife and partner Lorraine Nybakken, Fredy Perlman and a group of kindred spirits purchased a printing press from a Chicago dealer, transported it, in parts, back to Detroit in their cars and the Detroit Printing Co-op was born.

Operating between 1969 and 1980 out of southwest Detroit, the Co-op would print the first English translation of Guy Debord’s Society of the Spectacle and journals like Radical America, produced by the Students for a Democratic Society; books such as The Political Thought of James Forman printed by the League of Revolutionary Black Workers; and the occasional broadsheet, such as Judy Campbell’s stirring indictment, Open letter from ‘white bitch’ to the black youths who beat up on me and my friend.
Fredy Perlman was not a printer or a designer by training, but was deeply engaged in the ideas, issues, processes and materiality of printing. Under his direction, the Detroit Printing Co-op radically rethought the possibilities of print by experimenting with overprinting, collage techniques, different kinds of papers and so on. Behind the calls to action and class consciousness written in his publications, there was an innate sense of the politics of design, experimentation and pride of craft.

Building on research conducted by Danielle Aubert, a Detroit-based designer, educator and co-author of Thanks for the view, Mr. Mies, The Politics of the Joy of Printing explores the history, output and legacy of Perlman and the Co-op in a highly illustrated testament to the power of printing, publishing, design and distribution.