Search results for ""Author Cay Sophie Rabinowitz""

OSMOS Magazine is an art magazine about the use and abuse of photography, explains founder and editor Cay Sophie Rabinowitz (formerly of Parkett and Fantom). The magazine is divided into thematic sectionssome traditional, such as Portfolio, Stories and Reportageand others more idiosyncratic, such as Eye of the Beholder, where gallerists discuss the talents they showcase; and Means to an End, on the side effects of non-artistic image production. This issue, OSMOS Magazine #12, with a stunning cover by conceptual photographer Bing Wright, features an essay by Peter Weibel on interface technology in the film work of Kathryn Bigelow, a portfolio on Peter Funch, Simon Leung's survey of recent work by Lincoln Tobier, and rare documentation about Ursula Block's infamous record store and gallery, gelbe MUSIK, founded in 1981 as the Berlin outlet for experimental sound art and music.

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OSMOS Magazine is "an art magazine about the use and abuse of photography," explains founder and editor Cay Sophie Rabinowitz (formerly of Parkett and Fantom). This issue features Marilyn Minter, artist Jill Magid on her ongoing engagement with the work of Alexander Calder, an essay by contributing editor Tom McDonough on Anne Collier, Drew Sawyer on Elle Pérez, Russian Ghanaian photographer Liz Johnson Artur's "beautiful moments of everyday black life around the world" and Dale Harding's murals created using a stencil technique practiced by the artist's ancestors: the Bidjara, Ghungalu and Garingbal peoples of Central Queensland, Australia. Cover by Corentin Grossmann.

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OSMOS Magazine is an art magazine about the use and abuse of photography, explains founder and editor Cay Sophie Rabinowitz (formerly of Parkett and Fantom). The magazine is divided into thematic sectionssome traditional, such as Portfolio, Stories and Reportageand others more idiosyncratic, such as Eye of the Beholder, where gallerists discuss the talents they showcase; and Means to an End, on the side effects of non-artistic image production. This issue includes a feature by contributing editor Tom McDonough on photographer Eileen Quinlan, reportage by photographer Alex Welsh, an essay by Jeffrey Kirkwood describing his research on the innovative Swiss artist and filmmaker Klaus Lutz, and an examination of Paris-based Dove Allouche by curator Drew Sawyer.

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Writings on, and work by, Mariah Garnett, Diane Severin Nguyen and Margarete Jakschik plus an essay on the many uses of the word "pictures" Founder and editor of Osmos Magazine Cay Sophie Rabinowitz (formerly of Parkett and Fantom) describes the publication as "an art magazine about the use and abuse of photography," explains . The magazine is divided into thematic sections--some traditional, and others more idiosyncratic. This 20th issue looks backward and forward. Kelly Sidley's essay surveys the wide-ranging use of the term "pictures" in 1977, from Mapplethorpe's simultaneous shows entitled "Pictures"--one of "portraits" at Holly Solomon and the other of "erotic pictures" at the Kitchen--to Douglas Crimp's renowned Pictures Generation exhibition at Artists Space. The "Still Moving Still" section focuses on Los Angeles-based Mariah Garnett; a portfolio on the work of Diane Severin Nguyen; and a selection of images by Margarete Jakschik, who was the cover artist for the previous issue. Alongside longtime contributing editors Tom McDonough and Drew Sawyer, new contributors such as River Bullock make their debut.

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Essays and meditations on iPhone photography, artist residencies, mortality and more from the acclaimed New England photographer and educator A memoir and meditation on the history of photography from one of New England’s most respected photographers, Rose Marasco (born 1948), this volume features short personal writings on topics ranging from artist residencies and iPhone photography to the early death of her father and includes selections from several bodies of work across Marasco’s long career. Lucy Lippard’s foreword situates Marasco as a key feminist voice among practitioners of vernacular photography. Marasco is now a widely exhibited photographer with works in many museum collections, who has also spent decades as a beloved and highly regarded teacher of photography. Her keen eye and generous voice offer an important perspective on how photography can shape a lifetime.

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A geometric motif pursued through collage by a celebrated Croatian protagonist of concrete art Croatian artist Julije Knifer (1924–2004) is recognized as one of the most prominent artists related to concrete art after 1945, as well as a founding member of the 1960s art collective known as the Gorgona Group. Over a career spanning five decades, Knifer developed a singularly restrained practice focusing on the variation of a single visual motif: the meander. Knifer's meanders have been interpreted differently depending on the period in which they appeared: first in the context of geometric abstraction and neo-constructivism of the “New Tendencies” of the 1960s. Today, they are more often understood as a gesture of resistance, with their asceticism and interest in the absurdism of anti-art and the neo avant-garde. This book focuses on a group of collages, produced in the late 1950s and early 1960s, that illustrates the development of the meander motif at a pivotal moment in Knifer's career.

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Internationally renowned artist and self-described "still-life photographer" Eileen Quinlan (born 1972) uses medium- and large-format analog cameras to create abstract photographs, working the film with steel wool or lengthy chemical processing. Among the subjects of her photographs are smoke, mirrors, Mylar, colored lights and other photographs. Featuring color reproductions and in-depth critical essays by Mark Godfrey and Tom McDonough, this book surveys Quinlan’s use of Polaroid film from 2006 to 2017. Initially used as a tool for proofing, Quinlan’s Polaroids can be seen as sketches, moments in which crucial formal and conceptual questions were explored and worked out. Moving through her extensive archive, one can find the origins of almost every larger body of work, as well as many ideas that remained in the repository, evidencing the artist’s desire to push beyond the constraints of her apparatus.

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Scenes from the frontlines of American feminism and civil rights, from the archives of folk singer, filmmaker and photographer Bev Grant This is the first monograph on Brooklyn-based photographer Bev Grant's (born 1942) extensive archive of photographs made from 1968 to 1972, when she was on the frontlines as a feminist and political activist. Grant began taking photographs as part of her participation in demonstrations with the Women’s Movement, such as No More Miss America in Atlantic City in 1968 and The Jeannette Rankin Brigade in Washington, DC, in 1968. As a member of the film collective New York Newsreel, she gained access to the Young Lords Party, the Black Panther Party and the Poor People's Campaign. “When I sat in on a workshop given by Students for a Democratic Society at Princeton University in 1967, I had no idea of the impact it would have on the rest of my life. The workshop topic was women’s liberation. It was an awakening, a dawn of consciousness that gave me a framework to understand my life and a path that I continue to follow.”

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Essays on Ellie Ga, Joanna Piotrowska, Walter Pfeiffer, Steve Reinke, Anna Papier and more, in the latest issue of Osmos As founder and editor Cay Sophie Rabinowitz (formerly of Parkett and Fantom) explains, Osmos Magazine is “an art magazine about the use and abuse of photography.” The magazine is divided into thematic sections—some traditional, and others more idiosyncratic. Osmos Magazine issue 19 features Oliver Chanarin in conversation with Rafal Milach about the Magnum photographer’s book In Nearly Every Rose …, plus essays by Tom McDonough on Ellie Ga; Lucy Gallun on Joanna Piotrowska; Walter Pfeiffer introduced by Swiss Institute curator Daniel Merritt; Kenta Murakami on Steve Reinke's The Hundred Videos; Anna Papier on the Dutch photographer Bart Julius Peters; Christian Rattemeyer on Levan Mindiashvili; Drew Sawyer on Erin Jane Nelson; Ksenia Nouril on Rafael Soldi; and Leon Dish Becker's reportage, ESL Political Clickbait, on memes designed by YouTubers infiltrating and promoting paranoia.

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Published on the occasion of her Aspen Art Museum exhibition, the artist’s first solo presentation in an American museum, this catalogue focuses on Amelie von Wulffen’s recent work, including paintings created during her time as the AAM’s 2012 Jane and Marc Nathanson Distinguished Artist in Residence. The artist deploys a host of painterly techniques that--while departing from the photographic collage practice for which she is best known--remain deeply referential, wryly revisiting and reprocessing tactics and tropes of modern painting from European Romanticism onward. The lavishly illustrated publication features an essay by AAM CEO and Director, Chief Curator, Heidi Zuckerman Jacobson, as well as a foreword by Cay Sophie Rabinowitz.

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