Search results for ""Radius Books""

The Sorcerer's Burden: Contemporary Art & the Anthropological Turn explores the complicated relationship between art and anthropology as it has been probed in the work of contemporary artists. Focusing on artists who appropriate, manipulate and transform elements found in anthropological methodologies and practices to create contemporary works that are alternately subversive, humorous, satirical, dark, playful and enchanting, The Sorcerer's Burden considers the complex results that emerge when contemporary artists, curators and exhibitions turn to anthropology. These artists working in painting, sculpture, photography, film, video and performance explore the intersection between fact and fiction, and the questionable proposal that any field, media or genre might propose to convey the truth. Artists featured in this volume include Ed Atkins, Nuotama Frances Bodomo, Theo Eshetu, Cameron Jamie, Kapwani Kiwanga, Marie Lorenz, Nathan Mabry, Ruben Ochoa, Dario Robleto, Shimabuku and Julia Wachtel.

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This debut monograph from award-winning Belgian photographer Maroesjka Lavigne (born 1989) includes six of the artist's series: Island, Land of Nothingness, Habitat, Not Seeing is a Flower, Animal Cabinet and You Are More than Beautiful. Each of these series spans several years in the making, in which the artist traveled throughout Iceland, Korea, Japan and many parts of Africa, observing landscapes and their inhabitants. Lavigne's subjects range from stark landscapes to spare, haunting portraits and unforgettable animal images; she produces stunningly beautiful images that are tenderly attuned to their settings and subjects. As the photographer puts it: "When you take a picture in a beautiful place, you have to realize that nature isn't the background for your photograph. Rather, you are its prop."

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This book covers American painter Matt Magee’s (born 1961) transition from New York City to Phoenix, Arizona, where he currently lives and works. Inspired by childhood expeditions through the American West, Magee’s works from this period continue his exploration of materiality, surface and sequence.

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Rift refers to the eastern edge of the North American Plate where it meets the Eurasian Plate along the Mid-Atlantic Rift in Iceland. New crust is formed as magma pushes up from the mantle; the land along the rift is unstable and raw. Marion Belanger (born 1957) documents this land and its structures: geothermal electricity, hot pools, volcanic excavation sites, houses, new earth and cultural relics within the landscape. In Fault, meanwhile, she photographs the shifting western edge of the North American Continental Plate along the San Andreas Fault in California, focusing on traces of the tectonic plate edge and the artifacts of our built environment upon them. Though characterized by earthquake activity, the landscape is often striking in its visual normalcy. Capturing moments of anticipation in settings that shift between the wild and the contained, Rift/Fault creates a visual tension that questions the relationship between geologic force and the limits of human intervention.

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Following the tragedies of September 11, 2001, contemporary artists such as Ahmed Basiony, Thomas Demand, Harun Farocki, Jenny Holzer, Trevor Paglen and Taryn Simon urgently pursued the complicated intersection of freedom, security, secrecy, power and violence. Covert Operations: Investigating the Known Unknowns features 13 international artists who have collected and revealed unreported information on subjects ranging from classified military sites and reconnaissance satellites to border and immigration surveillance, terrorist profiling, narcotics and human trafficking, illegal extradition flights and nuclear weapons. Among the other contributing artists are Anne-Marie Schleiner, Luis Hernandez Galvan, David Taylor and Kerry Tribe.

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In the summer of 2013, SITE Sante Fe presents a new project by Enrique Martínez Celaya (born 1964) entitled The Pearl. For this exhibition, Martínez Celaya transforms all 15,000 square feet of SITE’s gallery space into an immersive installation environment that includes several large and small-scale paintings, sculptures, video, waterworks and olfactory interventions. This exhibition integrates many of the elements and ideas that the artist has engaged with over the last several years. For this project, the artist takes the notion of home as both a point of departure and a destination to craft a multisensory experience that is an extended metaphor for a journey of emotional and psychological reflection. Visitors experience the installation in a specific sequence that allows a multilevel narrative to unfold coherently. This volume records the conception of the work with drawings and studio photos, as well as installation images of the final work.

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Published to coincide with an exhibition organized by Bob Nickas, on view at David Zwirner, New York (February 19 – March 23, 2013). Uglow quickly gained a reputation as an “artist’s artist.” Working in series that evolved slowly over decades, he always remained faithful to his central vision and his practice was unaffected by the increasingly commercial demands of the art scene in the 1980s and 1990s. His paintings revolve around a subtle dialogue between notions of center and edge, and are executed gradually, with several layers of paint. They appear at once calm and dynamic, and simultaneously suggest emptiness and ground.

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On the pioneering gallery that helped launch American Minimalism and Conceptualism From 1969 until 2009, Max Protetch’s gallery—first in Washington, DC, and then later in New York City—was a vibrant gathering place for art, architecture, politics and ideas. Richly illustrated with previously unpublished materials from the gallery’s archive, this volume provides insight into the early careers of some of contemporary art’s most enduring figures. Protetch was an advocate for Minimalism and Conceptual and Pop art in the 1970s; architecture in the late ’70s and 1980s; and beginning in the 1990s, a broad range of contemporary art, including from China. Protetch advocated for artists such as Vito Acconci, Jo Baer, Robert Barry, Donald Judd, Dan Flavin, On Kawara, Robert Mangold, Sol LeWitt, Dan Graham and Lawrence Weiner; and architects such as Michael Graves, Tadao Ando, Peter Eisenmann, Frank Gehry, Zaha Hadid, Rem Koolhaas, Daniel Libeskind, Samuel Mockbee, Aldo Rossi and Robert Venturi.

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Material representations of electrical and chemical interventions David Goldes (born 1947) uses chemical and electrical transformations of graphite and silver to form the basis of this latest body of work. Electrified, the drawings yield material evidence—burns, holes and surface scarring—while the chemically altered silver leaf shows unplanned swaths of color.

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Indigenous artists worldwide respond to environmental destruction Documenting international Indigenous artists’ responses to the impacts of nuclear testing, nuclear accidents and uranium mining on Native peoples and the environment, Exposure gives artists a voice to address the long-term effects of these manmade disasters on Indigenous communities in the United States and around the world. Indigenous artists from Australia, Canada, Greenland, Japan, the Pacific Islands and the US utilize local and tribal knowledge, as well as Indigenous and contemporary art forms as visual strategies for their works. Artists include: Carl Beam (Ojibway), De Haven Solimon Chaffins (Laguna/Zuni Pueblos), Miriquita “Micki” Davis (Chamoru), Bonnie Devine (Anishinaabe/Ojibwa), Joy Enomoto (kanaka maoli/Caddo), Solomon Enos (kanaka maloli), Kohei Fujito (Ainu), Kathy Jetñil-Kijiner (Marshallese-Majol), Alexander Lee (Hakka, Tahiti), Dan Taulapapa McMullin (Samoan), David Neel (Kwagu’l), No’u Revilla (kanaka maoli/maoli-Tahitian), Mallery Quetawki (Zuni Pueblo), Chantal Spitz (maohi), Adrian Stimson (Blackfoot), Anna Tsouhlarakis (Diné/Creek/Greek), Munro Te Whata (Maori/Ninuean) and Will Wilson (Diné).

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Alison Rossiter’s large-format homage to the sculptural properties of photographic paper This volume documents 12 paper works made from the earliest expired photographic papers in the collection of New York–based artist Alison Rossiter (born 1953), created in honor of Anna Atkins, the first person to illustrate a book with photographs. The exact expiration dates of these papers pinpoint their location on a timeline and coexist with events in world history. No matter what the light-sensitive materials have endured through dormant years, they still respond to chemical development, and the resulting photographic tones are evidence of experience. Physical damage, moisture and mold produce tonal changes when developed. This book, a copublication with the New York Public Library and Yossi Milo, includes all 12 works from the series at actual scale, along with close-up details. The reference dates, which cover world events such as World War II, and art historical references such as Picasso’s Blue Period, are included at the back.

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A new, redesigned edition of Gay Block and Malka Drucker’s classic photobook documenting those who risked their lives to rescue Jews from the Holocaust First published in 1992 to widespread acclaim, Rescuers: Portraits of Moral Courage in the Holocaust is a landmark photobook on the commemoration of the Holocaust. Featuring photograph portraits, archives and interviews, it was the first book (and exhibition) by Houston-born photographer Gay Block (born 1942); the exhibition has been seen in over 50 venues in the US and abroad, including the Museum of Modern Art, New York. Block spent more than three years traveling in eight countries, accompanied by rabbi and author Malka Drucker, documenting testimonies from more than 100 rescuers—people who risked their lives to rescue Jewish victims from the Holocaust. The stories range from those who saved one life to those who worked in the resistance and saved thousands, always with the threat of death and torture if they were discovered. This new edition features a complete redesign and new foreword by scholar of Jewish American art Samantha Baskind.

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The work of photographer and Rhode Island School of Design professor Steven B. Smith (born 1963) chronicles the transition of the Western landscape into suburbia. Robert Pinsky, US Poet Laureate, wrote of his work, "Smith's images record not so much a contrast as two violent absences joining as a single force. Landfill, seedling, turnabout, heating coil collude with the sky and mountains in a triumph of disproportion: scale not so much confused or lost as irrelevant." Steven B. Smith: Your Mountain is Waiting documents the accelerating suburbanization of Smith's native Utah. Peeling back the layers of westward expansion with equal parts subtlety and irony, Smith captures the new McMansions springing up against the rocky, rust-red mountains and deep blue skies of the West. Smith is equally attentive to the cast of characters that fill these new landscapes the people that build them, and the people that live in them.

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Spanning nearly four decades of work by Santa Cruz–based sculptor David Kimball Anderson (born 1946), this monograph presents a chronology of Anderson’s works, which balance the industrial and the delicate through such materials as steel, fiberglass and wood.

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Sculpture as states of matter: Christine Corday's ingenious adaptations of natural processes This monograph covers the past 20 years of New York-based artist Christine Corday's (born 1970) practice. Corday combines her interests in the sciences and fine arts to paint, sculpt, draw and design. Her artistic approach consists of manipulation of matter into different states, producing massive sculptures that viewers are meant to experience through touch, leaving memories on the surface of her work. Her most recent work includes the “Sans Titre”/ITER project, which includes Corday’s sculptures within the world’s first star built on earth; the Protoist Series, a group of metal alloy sculptures designed to change and rust with human interaction (the first was displayed under the High Line in New York City and subject of a solo exhibition at Los Angeles County Museum of Art); the black iron oxide color selected to cover the National September 11 Memorial; abstract charcoal drawings; and abstract synthetic polymer and pigment paintings. The term “protoist,” coined by the artist, is meant to describe forms in and out of a solid state.

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Much of Mark Klett's (born 1952) work as a photographer has entailed conversations with historical images. For this project, Klett worked only with the account of a young mining engineer named Raphael Pumpelly who wrote of his perilous journey through Arizona and Mexico in 1861 on the lawless Camino del Diablo or "road of the devil." More than 150 years later, Klett traversed the same route, making photographs in response to Pumpelly's words. Today, most of the Camino is located on the Barry M. Goldwater Bombing Range and the border is a militarized zone patrolled by government agents and crisscrossed by air and ground forces practicing for war. Unable to trace the engineer's exact steps, Klett created images that are not literal references to specific places or events; rather, he sought to produce a more poetic narrative of their shared experience of the Arizona desert.

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Scouring the fallow landscape around the Llobregat river and the Rubí stream near Barcelona with her 8 x 10 camera, Janelle Lynch (born 1969) searches for evidence and omens of nature’s life cycles. Her photographs of anthropomorphized trees, walls of litter-strewn vegetation, rocks and disintegrating leaves, all taken during a four-year stay in Barcelona between 2007 and 2011, are informed by three figures whose texts are excerpted in this volume: Roland Barthes, particularly his discussion of mourning in Camera Lucida; Charles Burchfield, whose pantheistic painterly animations of landscape have much inspired Lynch; and Wendell Berry, whose essay on approaching nature with respect and humility helped to further hone her process. Barcelona is also conceived as a homage to Lynch’s grandmother, who died in 2008, and to the victims of a devastating flood in the region that occurred in 1962.

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