Search results for ""Author Tom McDonough""

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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This is the first significant publication to explore the output of Matt Keegan, the New York-based artist known for his work across mediums, as well as independent publishing including the acclaimed editioned art journal North Drive Press. This monograph expands on a recent solo exhibition by the artist at Rogaland Kunstsenter; Stavanger, Norway, titled “Portable Document Format.” The show was organized as an idiosyncratic retrospective, with Keegan remaking sculptures dating from 2006 to 2015, initially fabricated in Sheetrock and steel, in cardboard. Like the exhibition, the publication serves both as a project and a reference for the artist’s work. Essays by Tom McDonough and John Miller theorize Keegan’s production, while interviews with Sara VanDerBeek and Anna Craycroft underscore the artist’s ongoing engagement with his peer group. Furthered by contributions from colleagues Uri Aran, Leslie Hewitt and James Richards, situated alongside full-color installation photos and reproductions of work from the past decade, Matt Keegan: OR provides a solid introduction and layered overview of the artist’s multifarious practice.

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