Search results for ""Radius Books""

Aller captures the infinitely shifting colors and textures of water, sand and sky This new project by German-born photographer Renate Aller is an extension of the ongoing series and book Oceanscapes (2010). Aller has continued to make images of the ocean from a single vantage point--for which she is internationally known--but for the last several years, she has also photographed sand dunes in New Mexico and Colorado. She has now paired the resulting images in a fascinating new series that continues her investigation into the relationship between romanticism, memory and landscape in the context of our current sociopolitical awareness. There is both a visual and visceral relationship between the two bodies of work. The desert images also capture visitors to the dunes, who engage in beach activities far away from any large body of water. And while these parallel realities are from completely different locations, the simultaneous, multiple activities on the sloping sand hills appears as if layers of different people and activities were choreographed next to rolling waves of the sea. Aller's first combination of these images was in book form, for a mammoth handmade book that was 36 inches wide. The overwhelming success of that publication has inspired this new trade edition, which features the largest binding that can be mechanically bound, and includes an expanded selection of the work. Born in Germany, Renate Aller lives and works in New York. Ocean and Desert is her third monograph published with Radius Books, following Dicotyledon and the long-term project Oceanscapes-One View-Ten Years. Pieces from that series and other site-specific artworks are in the collections of corporate institutions, private collectors and museums, including the Lannan Foundation, Santa Fe; the Corcoran Gallery of Art, Washington, D.C.; Yale University Art Gallery, Conneticut; the George Eastman House, Rochester; New Britain Museum of American Art; Hamburger Kunsthalle; and the Chazen Museum of Art, Madison.

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Until 2008 Nevada was the fastest-growing state in America. But the recession stopped this urbanizing gallop in the Mojave Desert, and Las Vegas froze at exactly the point where its aspirational excesses were most baroque and unfettered. In this third Radius Books installment of noted photographer Michael Light's aerial survey of the inhabited West, the photographer eschews the glare of the Strip to hover intimately over the topography of America's most fevered residential dream: castles on the cheap, some half-built, some foreclosed, some hanging on surrounded by golf courses gone bankruptcy brown, some still waiting to spring from empty cul-de-sacs. Throughout, Light characteristically finds beauty and empathy amidst a visual vertigo of speculation, overreach, environmental delusion and ultimate geological grace. Janus-faced in design, one side of the book plumbs the surrealities of "Lake Las Vegas," a lifestyle resort comprised of 21 Mediterranean-themed communities built around a former sewage swamp. The other side of the book dissects nearby Black Mountain and the city's most exclusive-and empty -future community where a quarter billion dollars was spent on moving earth that has lain dormant for the past six years. Following the boom and bust history of the West itself, Light's photographs terrifyingly and poignantly show the extraction and habitation industries as two sides of the same coin. Essays by two of the world's most celebrated cultural and landscape thinkers, Rebecca Solnit and Lucy Lippard, offer resonant counterpoint.

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San Francisco–based photographer Michael Light's (born 1963) fourth Radius book in his aerial series Some Dry Space: An Inhabited West journeys into the vast geological space and time of the Great Basin—the heart of a storied national "void" that is both actual and psychological, treasured as much for its tabula rasa possibilities as it is hated for its utter hostility to human needs. Twelve thousand years ago most of the Great Basin was 900 feet underwater, covered by two vast and now largely evaporated Pleistocene lakes: the Great Salt Lake in Utah and the remnants comprising Pyramid Lake, Honey Lake, the Carson Sink and Walker Lake. The most famous portion of the former Lake Lahontan is the Black Rock Desert, the site of the fastest land speed record and the annual counterculture festival Burning Man. The topography now exposed by both Pleistocene lakes forms a mythic core to American Western concepts of space.

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Known primarily for her visionary art collecting, Virginia Dwan (born 1931) showed artists such as Robert Rauschenberg, Yves Klein, Ad Reinhardt, Joan Mitchell and more at her Los Angeles gallery in the 1960s. But Dwan has her own artistic practice, and has dedicated the last three and a half years to documenting military graves in cemeteries across the United States. This collection of photographs, accompanying an exhibition that will travel to the National Gallery of Art in Washington, DC, and the LACMA in Los Angeles, serves as striking evidence of the ever-growing number of lives lost as a consequence of war. Though the work is political, the volume is purely visual, without comment—just page after page of headstones. The only text in the book is the late Pete Seeger’s question, “Where have all the flowers gone?” The images speak for themselves.

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John Fincher’s paintings of towering poplars, pine limbs set against crystalline skies, richly hued desert hillsides and cropped prickly pears unravel the manifold cultural meanings inscribed within representations of the mythic American West. This is the first comprehensive volume dedicated to Fincher’s 40-year career.

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For most of human history, man-made light has signified hope and progress. Christina Seely’s Lux examines the contemporary disconnect between the beauty of the artificial light that emanates from the earth’s surface and the complexity of what this light represents. Made between 2005 and 2010, and titled after the unit for measuring illumination, the project focuses on light produced by 45 cities in the United States, Western Europe, China and Japan--the most brightly illuminated regions on NASA maps of the earth at night. These economically and politically powerful regions have the greatest impact not only on the night sky but also on the planet’s ecology. Seely’s portraits are less about the individual locations and more about the global ramifications of consumption, and for this reason each photograph is titled simply “Metropolis,” with a notation of the city’s latitude and longitude. The book also includes a fold out NASA map.

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Stephen Dupont (born 1967) is an Australian photographer who has produced hauntingly beautiful images of fragile cultures and marginalized peoples since beginning his photographic career in 1989. Piksa Nuigini records Dupont’s journey through some of the most important cultural and historical zones in Papua New Guinea: the Highlands, Sepik, Bougainville and the capital city, Port Moresby. Through images and diary entries, Dupont captures the spirit of human life on one of the world’s last truly wild frontiers. This work was conducted with the support of the Robert Gardner Fellowship of Photography at Harvard’s Peabody Museum of Archaeology and Ethnology. The publication consists of two slipcased volumes: Piksa Nuigini: Portraits and Piksa Nuigini: Diaries. The former is a collection of portraits reproduced in luscious duotone; the latter a collection of the diaries, drawings, contact sheets and documentary photographs that Dupont produced as he created his work.

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Transformative minimalism: surveying Larsen’s ingenious synthesis of worn patina and geometric rigor This is the first monograph on Sante Fe–based sculptor Ted Larsen (born 1964), bringing together over 15 years of creative output. Since 2001, Larsen has sought alternative and salvaged materials in his abstract constructions with the "hope of bringing purist shapes and surfaces back down to earth." This quest takes Larsen to sites such as the metal scrapyard, where he mines the raw material for his work by sawing off sections of older-model vehicles. The works’ surfaces, which hold a strongly patinated palette, are unmodified; the colors of the metal that skin the objects—the rusty off-white of an old pickup truck or the vibrant yellow of a decommissioned school bus—are exactly as he found them. Calling to mind both architecture and the reductive forms associated with Minimalism, Larsen’s works upend and defy classification.

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The first monograph on Valdez’s epic painterly tales of injustice and inequity in contemporary America Houston-based artist Vincent Valdez (born 1977) blends large, representational paintings—the scale of which recall Western traditions of history painting as well as mural painting and cinema—with contemporary subject matter. Vincent Valdez: In Memory is the first book-length study of his work, focusing on subjects that explore his observations and experience of life in the 21st century. The results are powerful images of American identity that confront injustice and inequity while imbuing his subjects with empathy and humanity. Valdez states, “My aim is to incite public remembrance and to impede distorted realities that I witness, like the social amnesia that surrounds us all.” Recognized for his monumental portrayal of the contemporary figure, his drawn and painted subjects remark on a universal struggle within various sociopolitical arenas and eras.

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In 2011, Arizona-based photographer Betsy Schneider, herself the mother of a 13-year-old daughter, embarked on a project to explore the experience of being 13. Traveling around the United States, the Guggenheim grant recipient spent 2012 chronicling 250 13 year olds, creating still portraits and video documentation of each. The resulting body of work creates a rich collective portrait of a group of Americans whose lives began at the turn of the millennium and who are coming of age now. To Be Thirteen depicts all 250 portraits with brief quotations from the extended video interviews and an interview by Center for Creative Photography Chief Curator Rebecca Senf with Schneider, unpacking details about the artist’s process, insights about the project and how it changed her, as well as longer excerpts from the subjects. This publication captures and conveys the experience of meeting with the artist and looking through a stack of prints with her, and will complement an exhibition of the project debuting at the Phoenix Art Museum in the spring of 2018.

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This series by photographer Justin Kimball (born 1961) features small towns in New York, Massachusetts, Pennsylvania and Ohio brought to the brink of obsolescence by the recent financial downturn, capturing their streets, residents and landscapes in photographs both sensitive to their subjects and compositionally striking. While imbued with social and political subtext, Kimball’s images--of ramshackle buildings against a landscape, a mother and baby on their front porch, roadside church signs and teenagers playing a game of pickup basketball--carry a broader significance. In his depiction of communities faced by hardship, Kimball examines the persistence of hope and the concept of what it means to be human in our modern world. His photographs document a growing--yet often overlooked--portion of the American landscape, providing an impressive portrait of the present day.

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In the Swiss Pavilion at the 57th Venice Biennale, the Swiss American artist couple Teresa Hubbard / Alexander Birchler (born 1965 and 1962 respectively) presented Flora and Bust, exploring the life of the unknown American artist Flora Mayo, with whom Alberto Giacometti had a love affair in Paris in the 1920s. While Giacometti is one of the most celebrated artists of the 20th century, Mayo's oeuvre has been destroyed, her biography relegated to a footnote in Giacometti scholarship. In this acclaimed work, which had its American premiere at the Los Angeles County Museum of Art (LACMA) in 2019, Hubbard / Birchler reframe Mayo's history through a feminist perspective that interweaves reconstruction, reenactment and documentary into a hybrid form of storytelling. Flora, a double-sided film installation, is conceived as a conversation between Mayo and her son, David, whom the artists discovered living near Los Angeles. The work generates a multifaceted dialogue between a mother and son, Mayo and Giacometti, Paris and Los Angeles, and past and present. This richly illustrated book depicts the journey of Hubbard / Birchler's process and is accompanied by a transcript of the film installation, a visual chronology of Flora Mayo's life, and conversations with the artists.

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Georgia O'Keeffe's turn toward abstraction: luscious watercolors of the Texan landscape and her own body Georgia O’Keeffe: Watercolors catalogues the first major exhibition of the nearly 50 watercolors created by O’Keeffe between 1916 and 1918, while she lived in Canyon, Texas. These years mark a period of radical innovation for the artist, during which she firmly established her commitment to abstraction. While her work in Texas is often understood as merely a prelude to her career in New York City, these watercolors and drawings mark a seminal stage in O’Keeffe’s artistic formation, representing the pivotal intersection of her disciplined art practice and her allegiance to the revolutionary techniques of her mentor, Arthur Wesley Dow. O’Keeffe’s watercolors explore the texture and landscape of the Texas desert and the artist’s own body in an exceptionally fragile and sensitive medium, representing a substantial achievement in their own right. These early works also relate to O’Keeffe’s large-scale oil paintings, which in their handling of color and texture in some ways seem to aspire to the condition of watercolor. Designed to emphasize direct contact with these beautiful works, Watercolors features full-scale color reproductions of the paintings, most of which are approximately 8x12 inches in scale, offering a powerful testament to the significance of the watercolors in O’Keeffe’s creative evolution. Also included (in a wallet at the rear of the book) is a lengthy essay by Amy Von Lintel featuring archival photographs of O'Keeffe from these years. Georgia O’Keeffe (1887–1986) is best known for her distinctive paintings of flowers and landscapes which applied a precise, often hard-edged abstract language to evocative natural forms. Dubbed the "mother of American modernism," O’Keeffe produced more than 1,000 artworks in a career of more than 60 years.

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The photographs of Colleen Plumb (born 1970) examine the scope of intersections and relationships between humankind and other creatures, seeking to draw out the contradictions that have shaped our relationships with animals throughout history. The animals she portrays range from beloved house pets to circus animals and even road kill. Weaving imagery of life and death, Plumb plays with the whole gamut of attachments and emotions we hold toward animals. Karen Irvine of the Museum of Contemporary Photography writes of this work: “[Plumb] uses color, framing and focus to draw our attention to details that are alternately humorous, delightful and disturbing, making the viewing of her pictures an ever-changing and engaging experience.” Animals Are Outside Today is the photographer's first monograph; it collects 74 color photographs that expose both our kinship and our disjuncture from other creatures of this earth.

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John McCracken (1934–2011) occupies a singular position within the recent history of American art, as his work melds the restrained formal qualities of Minimalist sculpture with a distinctly West Coast sensibility expressed through colour, form and finish. He developed his early sculptural work while studying painting at the California College of Arts and Crafts in Oakland in the late 1950s and early 1960s. While experimenting with increasingly three-dimensional canvases, the artist began to produce objects made with industrial materials, including plywood, sprayed lacquer and pigmented resin, creating the highly reflective, smooth surfaces that he was to become known for. This catalogue charts the evolution of McCracken’s diverse oeuvre, encompassing both well-known and lesser-seen examples of the artist’s production from the early 1960s up through his death in 2011, presenting a range of sculptures, paintings and sketches.

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A beautifully produced celebration of Leo Amino’s sculptural adventures in light and color, richly complicating the story of abstraction in America The first catalog on the Japanese American artist Leo Amino (1911–89), this book intervenes in both histories of American sculpture and in histories of Asian American art. Amino's work provokes an exciting reconsideration of abstraction in the works of artists of color. Like fellow experimentalists Josef Albers and Ad Reinhardt, Amino was initially recognized by the cooperative Artists’s Gallery, where he received his first solo exhibition in 1940. Disillusioned with both Japanese and American nationalist traditions after World War II, Amino found freedom among the exiles and refugees of Black Mountain College. His early works in wood and wire feature forms unfolding within forms. In 1945 Amino became the first American artist to use cast plastics, creating small, beautiful “refractional” sculptures that articulate light and color through exquisite transparent and translucent abstract compositions. An extensive selection of images from Amino's 2020 show at David Zwirner accompanies the text, as well as archival images from Amino’s midcentury group shows at the Whitney and other museums, and previously unseen archival photographs of the artist and his works of the 1940s and ’50s at the Sculpture Center, where he exhibited for several decades. The volume is edited and written by the artist's grandson, art historian Genji Amino, with additional texts by Aruna D'Souza, Lucy Lippard, Neferti Tadiar, Mary Whitten and Karen Yamashita.

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The wear and tear of an uncertain present: a photographic account of contemporary America Massachusetts-based photographer Justin Kimball’s (born 1961) Who By Fire considers contemporary American life as it relates to a complex history of economic, religious and political environments. Kimball's work wrestles with the complications of the current moment while trying to imagine the promise of a future that is unknown and tenuous. Unflinching photographs of people in neighborhoods, streets and yards document moments where the burden of the present day visibly presses in upon bodies and physical surroundings, while also conveying the resilience and hope maintained under that weight. The people in these pictures are further contextualized by photographs that point to the visual markers of humanity in the landscape, either unintended or by design: a wall painting of a sun dial, a rising angel nailed to the side of a barn, a woman asleep on a blanket paired with a tree set on fire.

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A two-volume collection of materially ingenious photographs responding to identity and the American landscape Binh Danh was born in Vietnam and immigrated to the US in 1979. Early in his career, Danh pioneered a technique of printing images directly onto plant matter, activating the plants’ chlorophyll with sunlight. Using this process, Danh printed images associated with the war in Vietnam onto the leaves of tropical plants and grasses. Of this work, Danh explains, “This process deals with the idea of elemental transmigration: the decomposition and composition of matter into other forms. The images of war are part of the leaves, and live inside and outside of them.” Known for his innovative approach to alternative photographic processes, Binh Danh extends and reconsiders the pursuit of pioneering 19th-century photographers. For almost a decade, Danh has traveled across the American West, making daguerreotypes of scenic vistas on silver plates in a mobile darkroom he calls Louis, after Louis Daguerre. Danh imbues this scenery with his distinctly personal perspective—namely, an attempt to negotiate his connection as a Vietnamese American with the landscape and history of the United States. The highly reflective surfaces of Danh’s daguerreotypes literally mirror their surroundings, embracing viewers within the idyllic environs of national sites and landmarks. This inaugural monograph features two volumes in a slipcase, bringing together all three bodies of work and a separate book of essays and memorabilia that serves to contextualize Danh's work.

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West’s material experiments in film and art explore Southern California’s changing geography This debut monograph brings together nearly a decade of “analogital” experiments in film, sculpture and installation by Jennifer West (born 1966)—one of the most committed artists working on the West Coast today. Saturated in a history of avant-garde and Third World cinema (not to mention HIV/AIDS activism and the incipient Riot Grrrl movement) since she was an undergraduate at Evergreen State College, West’s work today treads similar ground: challenging the utopianism of new media adoptees as well as the nostalgia of analog-only film adherents. The 11 projects reproduced in the book, all produced between 2014 and 2021, fall under the heading of Media Archaeology, and reveal the historical and material promiscuity of West’s experiments in film and art, often tied to the changing geography of Los Angeles and its surrounds.

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The Vermeer of California’s Light and Space movement: the first comprehensive monograph on Helen Pashgian’s infinitely subtle and mutable sculpture Over the course of her career, Pasadena-based artist Helen Pashgian (born 1934) has produced a significant oeuvre of sculptures comprised of vibrantly colored columns, discs and spheres, which often feature an isolated element appearing suspended, embedded or encased within them. Using an innovative application of industrial epoxies, plastics and resins, Pashgian’s works are characterized by their translucent surfaces that appear to filter and somehow contain illumination. “One must move around to observe changes,” she testifies: “coming and going, appearing and receding, visible and invisible—a phenomenon of constant movement.” This book documents Pashgian’s vast body of work, dating from the 1960s to now, with historic and new photographs of the artist’s spheres and discs. An essay by John Yau and a chronology built on new research is also included.

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Captive elephants exhibit what biologists refer to as stereotypy, which includes rhythmic rocking, head bobbing, stepping back and forth, and pacing. Colleen Plumb traveled to over seventy zoos in the US and Europe to film this behavior, and distilled her footage into a video that weaves together dozens of captive elephants, bearing the weight of an unnatural existence in their small enclosures. She has installed guerrilla public projections of the video in over 100 locations worldwide, constructing photographs of each projection. Thirty Times a Minute (the resting heart rate of an elephant) explores the ways in which animals in captivity function as symbols of persistent colonial thinking, a striving for human domination over nature has been normalized, and consumption masks curiosity. The work sheds light on abnormal behaviors of captive elephants in order to bring attention to implicit values of society as a whole, particularly those that perpetuate power imbalance and tyranny of artifice. The presence of massive, intelligent, far-roaming, emotional animals such as elephants in urban zoos exemplifies contradiction and discordance, and public projections of their image onto urban walls and out-of-context surfaces add to the layers of incongruity. Aware of the tremendous need to protect native habitat and its residents, this project contributes to the idea that sentient beings are not meant for spectacle or display.

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Photography is omnipresent; everyone is photographing everything. How do artists and writers reconcile this voracious urge to photograph with a photographic aesthetic and methodology that has tended to value “less is more”? One pairs artists and writers to think about this question. Eight photographers—Marco Breuer, Thomas Joshua Cooper, John Gossage, Trevor Paglen, Alison Rossiter, Victoria Sambunaris, Rebecca Norris Webb and James Welling—were asked to submit one image on the theme of minimalism. Eight writers—David Campany, Teju Cole, Christie Davis, John D’Agata, Michael Fried, Darius Himes, Leah Ollman and Laura Steward—were enlisted to respond to those submissions, each paired with a specific image. The results offer a probing assessment of Antoine de Saint-Exupery’s maxim: “Perfection is achieved, not when there is nothing more to add, but when there is nothing left to take away.”

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In Laura Letinsky: Time’s Assignation the Polaroid—now an anachronistic format, a leftover of photographic history—is conjoined with the photographer’s trademark subject matter: the remains of meals and appetites never entirely sated. Chicago-based photographer Laura Letinsky (born 1962) used Polaroid Type 55 film as part of her working process until the film was discontinued in 2008, exploring focus, composition, exposure and light in black-and-white instant photographs as she worked up to the larger-scale color works for which she is best known. Like sketches, the photographs in this volume—small, slow and raw—reveal a process of asking. This way or that? More or less? Now or then? A Polaroid is a fugitive thing, beautiful in its decomposition, subject to change as much as the still life compositions of ripe fruits and nibbled foods that Letinsky arranges. Time’s Assignation collects Polaroids taken by the photographer in her studio between 1997 and 2008, now stabilized, their high-key tones slipping into white veils and darker tones metallized in hues of taupe, gold and gunmetal gray. These photographs offer a record of Letinsky’s working process, but are a compelling body of photographic work in their own right, exploring time’s unrelenting progression in their subject matter and materiality.

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Miki Kratsman (born 1959) has worked as a photojournalist in the Palestinian Occupied Territories for over three decades. Originally created in the context of daily news, his photographs look at both "wanted men"--individuals sought by the Israeli state--and the everyman and everywoman on the street who, by virtue of being Palestinian in a particular time and place, can be seen as a "suspect." Kratsman has also provoked long-term interaction around the images on social media, creating a Facebook page on which viewers are invited to identify the individuals portrayed and comment on their "fate." This complex project is chronicled in this book in more than 300 images that powerfully implicate the viewer. A text by Ariella Azoulay explores the ways in which the shadow of death is an actual threat that hovers over Kratsman's subjects.

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Lyrical and luminous post-Color Field abstractions from a leading Texas painter Dallas-based painter Marcelyn McNeil (born 1965) creates large-scale oil abstractions with brightly colored forms—sometimes lozenge-like, sometimes angular—that drip, bleed and fade into one another. Her recent paintings and site-specific installation works celebrate the power of color and simple, clear gestures. Inspired by artists such as Helen Frankenthaler, McNeil rejects the masculinity of hard-edged abstract painting, instead introducing a sort of lyricism into her work with soft stains and blots of pigment. Often experimenting with perspective and illusion in her work, McNeil also resists the planar quality traditionally associated with abstract painting in favor of a more dynamic relationship to the canvas. With an accompanying interview and essay that provide a framework for engaging with the work, this volume explores the full breadth of this exciting artist’s quietly subversive oeuvre, and introduces new ways to consider and experience contemporary abstract painting.

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American artist Carol Anthony's (born 1943) distinctive oil-crayon paintings, drawings and prints feature objects lifted from the artist's immediate surroundings, such as eggs, pears, unopened envelopes, postcards and pillowcases. This richly illustrated book is the first full-length survey of Anthony's career.

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A pandemic logbook in words and images, with gorgeous Cape Cod panoramas and poetical meditations “Far from the vibrant urban worlds where I’ve often photographed, I followed the subtle movements of time and tide, wind and water. Meanwhile, Rebecca photographed the waves of light as they washed through our house of many windows—and wrote spare text pieces to try to emotionally navigate this unsettling time, when so many we know have been caught in its undertow.” –Alex Webb, May 2021 Inspired by Virginia Woolf’s novel The Waves, this collaborative project brings together the work of creative partners Alex Webb and Rebecca Norris Webb. This intimate collection serves as a pandemic logbook in words and images, created while the couple was largely sequestered on Cape Cod from March 2020 through May 2021. Rebecca provides original, handwritten poetry that punctuates her lyrical photographs and Alex’s panoramic seascapes. Their images serve as poignant meditations on what it means to be both deeply connected to the world around us and profoundly isolated from much that we hold dear. Alex Webb (born 1952) has published more than 15 photography books, including the survey The Suffering of Light. His most recent books include La Calle: Photographs from Mexico and the collaboration Brooklyn: The City Within, with Rebecca Norris Webb. Originally a poet, Rebecca Norris Webb (born 1956) often interweaves her text and photographs in her nine books, most notably with her monograph, My Dakota. Her most recent book, Night Calls, was published by Radius Books in 2020.

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A photographic fever dream of America’s Midwest, from the author of Homegrown and Domestic Vacations For her third monograph, Midwest Materials, Julie Blackmon has created a new body of work that sparkles with the wit, dark humor and irony for which the photographer has gained such renown. Finding insight and inspiration in the seeming monotony of her “generic American hometown” of Springfield, Missouri, Blackmon constructs a captivating, fictitious world that is both playful and menacing. “I think of myself as a visual artist working in the medium of photography,” Blackmon notes, “and my assignment is to chart the fever dreams of American life.” Midwest Materials follows Domestic Vacations (Radius Books, 2008) and Homegrown (Radius Books, 2014). Julie Blackmon (born 1966) pursued studies in art education and photography at Missouri State University. Her photographs are included in the permanent collections of the Cleveland Museum of Art; George Eastman House, Rochester, NY; Kemper Museum of Contemporary Art and Nelson-Atkins Museum of Art in Kansas City; Museum of Fine Arts, Houston; Toledo Museum of Art; Portland Art Museum; Museum of Contemporary Photography, Chicago; and numerous others. She is represented by Robert Mann Gallery, Haw Contemporary and Fahey Klein, among others. Blackmon lives and works in Springfield, Missouri.

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Jones’ multisensory art ingeniously weaves connections between Minimalism, music and the Black avant-garde This volume explores the interdisciplinary practice of Hudson-based artist Jennie C. Jones (born 1968), which moves viewers through both visual and auditory engagement. Aurally altering the spaces in which her paintings, sculptures and installations are on view, Jones’ work encourages viewers to anticipate sound even in the quietest of environments. As she explains, "I always say [the artworks are] active even when there’s no sound in the room; they are affecting the subtlest of sounds in the space—dampening and absorbing even the human voice." Conceptually, Jones’ practice reflects on the legacies of modernism and Minimalism while underscoring the connection between Minimalism and music, illuminating the influence of the Black avant-garde. Bringing this multisensory experience to book form, Jones unites documentation of recent exhibitions—including Dynamics, her expansive show at the Guggenheim Museum (2022)—with excerpts of text, poetry and conversations to create a "score" that reveals the layers of Jones’ artwork. Part artist’s book and part primer, this lyrical volume unfolds in movements, like a printed and bound evening of poetry, prose and music.

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Born and raised in Brooklyn, New Mexico–based photographers David Scheinbaum (born 1951) and Janet Russek (born 1947) started photographing New York’s Lower East Side in 1999, and have chronicled a time of extraordinary transformation. Undergoing rapid gentrification into a “hipster” neighborhood, the future of the Lower East Side is now unclear. In 2008, the National Trust for Historic Preservation added the neighborhood to its list of America’s Most Endangered Places, and many believe the cultural institutions and ideologies that established the Lower East Side are disappearing forever. Throughout its history, New York’s Lower East Side has reflected the cultural demographics of the city and fostered a rich cultural environment for immigrant life, becoming the home to many ethnic groups. With this volume, Scheinbaum and Russek capture remnants of history through their intimate portraits of iconic places such as Katz's Deli, Essex Street Market, Orchard Corset and Streit's Matzo.

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The Crime of Art looks at San Francisco–based artist Kota Ezawa’s (born 1969) oeuvre using crime as a lens. The book presents photographs and reproductions from Ezawa’s recent exhibitions in Los Angeles, New York and Amherst featuring remakes of paintings stolen from the Isabella Stewart Gardner Museum in Boston. In addition, the book draws connections from his current project to other work from the early 2000s to the present that contemplates crime. Among them are his animated films The Simpson Verdict (2002) and The Unbearable Lightness of Being (2005), as well as his ongoing drawing series The History of Photography Remix, which includes hand-drawn re-creations of historic crime-scene photography. While focusing on a single subject, The Crime of Art brings attention to some of Ezawa’s key projects from the last 15 years, and coincides with a solo exhibition at SITE Santa Fe in 2017.

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The culmination of a decade of work in the American West, Signal Noise presents an open-ended meditation on our desire to connect with the natural world, and the limits of our abilities to do so. Photographs altered with unconventional digital processing ask us to reflect on the nature of individual perceptual experience and the impact of our collective presence in the landscape. The images in Signal Noise are rooted in Rothman’s response to places familiar and meaningful to him, but his interest lies in the transformative rather than the documentary nature of photography. Landscapes overtaken by digital noise, layering, erasure, amplification and interference examine the blurry boundaries between natural and artificial. Interspersed views of desert mountain vistas and dense forests anchor the work in the space of the physical world while also casting doubt about what is real.

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In 1875, after being acquitted for the murder of his wife’s lover, Eadweard Muybridge spent a year photographing along the Central American Pacific Coast, particularly in Guatemala and Panamá. Upon his return to California in 1876, he published a very limited number of albums of the photographs (11 are known), each of which was unique in size and scope. In 2007, photographer Byron Wolfe (born 1967) tracked down and cataloged every known Muybridge Central American photograph. Then, with cultural geographer Scott Brady, he traveled to many of Muybridge’s sites to rephotograph them. Through photographic collage, interpretive rephotography, illustrations and essays, this book examines an exceptionally rare series by Muybridge. Also included is a catalogue of every known Muybridge Central American picture.

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The fruition of decades of labor, Vicuña’s poetical works on the cosmologies and myths of the deer are now realized in a gorgeously designed artist’s book Inspired initially by Jerome Rothenberg’s translation Flower World Variations, which Cecilia Vicuña (born 1948) first encountered in 1985, Cecilia Vicuña: Deer Book brings together nearly 40 years of the artist’s poetry, "poethical" translations and drawings related to cosmologies and mythologies surrounding the deer, and sacrificial dance in cultures around the world. Woven like one of her quipu installations, Vicuña’s texts—which include original compositions in Spanish as well as English translations by Daniel Borzutzky—become meditations on translation, not just of the sacred nature of this animal but on how our understandings of ceremony and ritual are transformed by this ongoing process. Taken as inspiration rather than conundrum, the impossibility of translation opens up poetic possibilities for Vicuña as she continues her lifelong exploration into the nature of communication across eras and distant lands, languages and shared symbols within Indigenous spiritualities.

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A multimedia portrait of a fictional woman artist caught between two cultures In her latest body of work, multimedia artist Shirin Neshat (born 1957) turns her focus to the American West. With more than 100 photographs, a two-channel video installation and a feature film, Neshat creates a multilayered look at contemporary America through the eyes of a fictionalized artist. Monumental black-and-white photographs are transformed through Neshat's use of Farsi text and images that have been hand-drawn onto the picture. The texts represent Neshat's interpretation of the dreams of the sitter, with references to ancient myths and ideologies. Neshat works and experiments with photography, video and film, imbuing them with highly poetic and politically charged images and narratives that question issues of power, religion, race, gender and the relationship between the past and present, occident and orient, individual and collective through the lens of her personal experiences as an Iranian woman living in exile.

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From functional installations to discrete objects, Jim Isermann has chronicled the conflation of postwar industrial design and fine art through popular culture A comprehensive monograph spanning the 40-year career of Palm Springs–based artist Jim Isermann (born 1955), this title shows the artist’s first 20 years of extensive, chronological research of postwar art and design filtered through popular culture and consumerism, followed by 20 years of site-specific public projects and a studio practice of labor-intensive painting, sculpture and the occasional product design project. In 1980, there were no guidebooks to California design or what we now call Midcentury Modern. Isermann constructed his own timeline, object by object, from thrift stores, flea markets and swap meets, making bodies of work that included latch hook rugs paired with painting, stained glass window panels and handsewn fabric wall hangings. By 1999, Isermann had his first computer, and so began the second 20 years of his career, with complex digitally designed patterns that found their form in commercially manufactured modules. Isermann continues to be inspired by the unpredictable, serendipitous moments that breathe life into his work.

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Swazi craft meets digital photography in Kyle Meyer's astounding woven photos of a silenced LGBTQ community Kyle Meyer (born 1985) has worked between eSwatini (formerly Swaziland) and New York City since 2009, creating richly tactile artworks as conceptually complex as they are visually lush. In this debut monograph, Meyer's portraits from his Interwoven series fuse digital photography with traditional Swazi crafts, giving voice to silenced members of the LGBTQ community. Tension between the necessity of the individuals to hide their queerness for basic survival and their desire to express themselves openly inform both the subject and the means of fabricating Meyer's unique works. Each piece from the Interwoven series is labor-intensive, taking days or sometimes weeks to complete. Meyer often photographs his subjects wearing a traditional headwrap made from a vibrantly colored textile. He then produces a print of the portrait and shreds it, together with the fabric from the headwrap, weaving the strips into patterned three-dimensional works. The final portrait presents each person's individuality while using the fabric as a screen to protect their identity. Included in each copy of this book is a unique piece of fabric torn from the remnants of the Interwoven project, intended to serve as a bookmark.

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Aerial and on-site photographs made at a classified military site in the Great Salt Lake Desert by David Maisel, author of Black Maps David Maisel’s (born 1961) Proving Ground comprises aerial and on-site photographs made at Dugway Proving Ground, a classified military site covering nearly 800,000 acres in Utah’s Great Salt Lake Desert. A primary mission of Dugway is to develop, test and implement chemical and biological weaponry and defense programs. After more than a decade of inquiry, Maisel was granted access to this facility in order to photograph the terrain, the testing facilities and other aspects of the site. Maisel began by photographing at ground level, focusing on structures related to the testing of chemical warfare dispersal patterns. He then moved to an aerial perspective to create images that resemble large-scale minimalist drawings inscribed on the land. Maisel’s work at Dugway also includes photographs of the newly minted WSLAT (Whole System Live Agent Test) facility, which is devoted to identification and neutralization of chemical and biological toxins that can be weaponized by terrorists or rogue nations.

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A showcase of Phyllis Galembo’s extraordinary photographs of the costume, ritual and traditions of masquerade Mexico Phyllis Galembo has travelled all over the globe to sites of ritual masquerade. In Africa, the Caribbean, and now Mexico, she captures cultural performances with a subterranean political edge. Using a direct, unaffected portrait style, Galembo captures her subjects informally posed but often strikingly attired in traditional or ritualistic dress. Attuned to a moment’s collision of past, present and future, Galembo finds the timeless elegance and dignity of her subjects. Masking is a complex, mysterious, and profound tradition in which the participants transcend the physical world and enter the spiritual realm. In her vibrant images, Galembo exposes an ornate code of political, artistic, theatrical, social and religious symbolism and commentary. Galembo highlights the creativity of the individuals morphing into a fantastical representation of themselves, having cobbled together materials gathered from the immediate environment to idealize their vision of mythical figures. While still pronounced in their personal identity, the subject’s intentions are rooted in the larger dynamics of religious, political and cultural affiliation. Establishing these connections is a hallmark of Galembo’s work.

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An abstract and surreal vision of the transformation of water Chicago photographer Brad Temkin (born 1956) brings attention to the visual and ecological beauty of the transformation of water, by showing the structures and processes that most people do not even think about. Most storm water runoff is considered waste, yet more than 700 cities reclaim and reuse wastewater and storm water with combined sewer systems, recycling it for agricultural uses and even drinking water. As we mimic nature and separate the impurities like sludge, salt or chemicals, a transformation occurs. Temkin believes it matters less what each structure really is used for, or whether the water pictured is pure or waste. He is drawn to the strangeness of these forms and the distorted sense of scale. Moving beyond mere description, he embraces the abstract and surreal landscape of water transformation. Temkin has received a Guggenheim Fellowship for his work, which is collected in museums throughout the United States.

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Washington, DC–based artist Linn Meyers (born 1968) is best known for her hand-drawn lines and tracings for large-scale installations. This book provides a comprehensive survey of her site-specific wall drawings in museums and galleries since 2000, and of Meyers' intricate preparatory drawings and plans. Requiring much stamina, these projects involve drawing in the space over the course of days, sometimes weeks, accumulating lines into dense, intricate compositions. This scale allows Meyers to respond to architectural spaces and magnifies the performativity of her process. On Meyers’ Hammer Museum exhibition, Senior Curator Anne Ellegood wrote: “the sense of being present while viewing the work is also amplified at this larger scale … to see a wall drawing is to be surrounded by it and to feel oneself to be part of the work.”

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Over the course of five decades, California-based painter Max Cole (born 1937) has refined her visual language into a series of vertical and horizontal lines, and a restrained palette of gray, black and white. With up to 80 layers of paint, her paintings also comprise areas of unpainted linen, subtly interchanging the texture of paint with the texture of fabric. Upon closer inspection, these paintings reveal tiny, imperfect hatch marks that, when examined from afar, oscillate. As Cole says, “The result is quiet, inward and meditative, transcending the physical.” Cole developed as an artist in Los Angeles in 1964–78, began showing at Sidney Janis in 1977, and then moved to New York, while also maintaining a studio in Germany and exhibiting in Europe during the '80s and '90s. She now lives and works in the Sierra foothills of northern California. Her work is in the permanent collections of the Metropolitan Museum of Art, MoMA and Albright-Knox Art Gallery. This volume presents an overview of Cole's career over the past half-century.

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Intimate snapshots of monumental natural structures The latest project from New York–based photographer Renate Aller includes mountain peaks from six continents. These photographs were taken from locations as high as 22,500 feet (adjacent to Mount Everest) to the European glaciers and mountain peaks of her childhood vacations. The subject matter is monumental, yet the images connect the viewer in a way that is not overpowering. Similar to the sand dune images from Ocean | Desert, the artist engages us with these giants in all their detail, the veins and textures of the rocks in their constantly transient state. Aller isolates the mountain from its expected surroundings, using and presenting the familiar and the known in an intimate way, relating to parallel realities from different locations, opening up conversations between the different (political) landscapes in which we live.

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Land Art emerged in the 1970s when a handful of New York's more adventurous artists departed the gallery scene to make work in the open landscapes of the American West--Robert Smithson, James Turrell and Walter De Maria among them. Today, the genre has been renamed "environmental art," and encompasses the global community, the microscopic world, cyber space, suburban sprawl and the urban environment. Land/Art documents a series of events presented by 18 New Mexico arts organizations which explore the relationship between land, art and community through exhibitions, site-specific works and lectures. Featuring works by more than 40 artists, including the Center for Land Use Interpretation, Laurie Anderson, Erika Blumenfeld, Basia Irland, Patrick Dougherty, Catalina Delgado Trunk and Shelley Niro, this volume includes an introduction by critic Lucy Lippard, one of Land Art's best-known exponents.

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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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