Search results for ""Radius Books""

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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In 1993, Janet Russek began a series of still lifes of ripe squashes, peaches and pears whose rounded forms echoed the plenitude of pregnancy. Using only natural light, she then started to photograph vegetables and roots whose tendrils, reaching for the sun, expressed all of life’s striving and aspiration, and finally, the maturing plant, evoking the inevitable downward spiral into decay. In subsequent years, Russek has expanded the project to include pregnant women photographed at close range so that bellies and breasts become almost abstract. Her haunting portraits of dolls explore the darker, more psychologically complex side of childhood and parenting, while the Memory series includes photos of significant personal objects that harken to the past, and take this volume full circle. The Tenuous Stem also includes an essay, written by art scholar and critic MaLin Wilson-Powell, addressing Russek’s creative process.

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There is a twisted steel dome in Hiroshima that stands as a grim reminder of the city's destruction by the first atomic bomb. Halfway around the globe, on the border of Utah and Nevada, stands another ruin. The site that housed the bomber that carried “Little Boy,” Wendover Army Air Base, now crumbles from neglect. The stories and relics of Wendover describe more than just the past; they point to a historic cycle, a present increasingly filled with new threats of devastating nuclear and chemical warfare. For this book, American photographer Mark Klett (born 1952) has teamed up with William L. Fox, a celebrated science and art writer whose work focuses on human cognition and memory. Together, the two have created a fascinating visual and textual portrait of Wendover Army Air Base, examining the experience of memory in relation to the great tragedy of America's atomic age.

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A meditation on our uneasy relationship to the hotel as a liminal space Alex Yudzon (born 1977) creates ephemeral installations using only the furniture found inside his hotel rooms, which he stacks into precarious configurations, transforming these generic interiors into hallucinatory worlds where the laws of physics are suspended and dormant emotions released.

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A photographic encyclopedia of Western female hairstyles across the ages In The Hunt, London-based French photographer Céline Bodin (born 1990) creates a concise survey of female hairstyles across various periods in time, within the framework of Western culture. The series reflects upon the pictorial qualities of hair: studying its materiality and its ability to convey identity, while also recalling the Victorian “hair medallion”—a small, decorative keepsake made from an ornate curl of a loved one's hair, a pre-photographic memento that draws connections between portraiture, identity and memory. The figures appear as ornate statues, each characterized by the aesthetic associations and revisited stereotypes of their hairstyle. The anonymity of the images presented in The Hunt activates the mind's associative aptitude, drawing upon one's own fantasies and projections of sensuality, innocence, order, freedom, frivolity and social rank. Echoing classical art, these images refer to a mystical icon rather than presenting a portrait of an individual.

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A sumptuous, large-format photographic homage to the end of the analog era Since 2006, coinciding with his shift away from analog film to working exclusively with a digital camera, Richard Misrach has been exploring the aesthetic possibilities of the negative image. His latest body of work, debuted in this deluxe, oversize (16.75 by 13 inches), landscape-format volume, comprises dazzling, sublime photographs of landscapes and natural scenes—in negative, but using color with great dexterity and nuance. Inspired by Ansel Adams’ comparison of the photographic negative to a musical score, and John Cage’s 1969 book, Notations, which compiles music scores as art, Misrach here envisages the photographic image as a score-like negative, teetering on abstraction, that invites a diversity of interpretations. The result is a series of immense beauty unlike any previous Misrach publication. Richard Misrach (born 1949) is one of the most influential photographers working today. For the past five decades, he has used visually stunning, large-scale color vistas to address human intervention in the natural world. He lives and works in Berkeley, California.

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Landscape photography between representation and abstraction: new adventures in print and tonality from scott b. davis Californian photographer scott b. davis’ (born 1971) recent work uses combinations of in-camera palladium paper negatives and traditional film-based platinum/palladium prints. The images explore the boundaries of visibility in the darkness and overwhelming light of the Sonoran Desert, creating pictures of landscapes that are both literal and abstract. The light and space found in the open desert are felt in these uniquely rendered images comprised of diptychs, triptychs and occasional works that include as many as 10 or 12 unique images in a series. By using exposure to intense UV light, davis has pioneered a process that captures images invisible to the naked eye, creating prints rich in contrast to push the boundaries of the visible spectrum and the perceptual limits of human vision. His prints invite closer, deeper looking at landscapes that seem familiar to us in the daylight but evolve into something altogether different when rendered as abstract records of place. The aim is not to represent the desert as we think we know it, but to evoke an intimate connection with the desert through new perspectives.

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Photo-experiments in light and water with Robert Rauschenberg’s expired gelatin silver paper In 2018, photographers Jennifer Garza-Cuen (American, born 1972) and Odette England (Australian/British, born 1975) spent a week at the Robert Rauschenberg Foundation Residency in Captiva, Florida, collaborating on a series of nearly 200 photograms. The images were made in Rauschenberg’s swimming pool, using expired 1970s gelatin silver paper found in his darkroom. The two artists activated the paper by piercing or slashing the bags and envelopes using pens, scissors or knives; folding the silver paper at odd angles; or layering them inside the bags. Some sank to the bottom of the pool, while others floated on top or by the filtration units. Exposures were made overnight and throughout the day, allowing different levels and intensities of sunlight, moonlight and water to penetrate the paper. This large-format volume compiles their experiments.

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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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