Bøger udgivet af Radius Books

"For all our sakes, I hope Deborah Roberts continues to stake a claim, through her work, for a more expansive view of Black children." ‿Dawoud BeyThe definitive look at two decades of work by Austin-based artist Deborah Roberts (born 1962) with newly commissioned texts and a thorough dive into her archive, this monograph offers a comprehensive view of one of today‿s most significant social observers. An extensive plate section is accompanied by a heartfelt foreword from Dawoud Bey on "the tragic mischaracterization of Black children"; an insightful essay from Ekow Eshun on the social and political histories of innocence, race and the fractured nature of the contemporary Black experience; a celebratory tribute from author and artist Carolyn Jean Martin on the musicality, humility and generosity of Roberts‿ practice; and a free-ranging conversation between Roberts and cultural historian Sarah Elizabeth Lewis. By using images from American history, Black culture, pop culture and Black history, Roberts critiques perceptions of ideal beauty and challenges stereotypes. She combines found and manipulated images with hand-drawn and painted details to create hybrid figures, often young girls and increasingly Black boys, whose well-being and futures are equally threatened because of the double standard of boyhood and criminality that is projected upon them at such a young age. Each child has character and agency to find their own way amid the complicated narratives of American, African American and art history. Deborah Roberts (born 1962) is a mixed-media artist whose work challenges the notion of ideal beauty. Her work has been exhibited internationally across the US and Europe, and is in the collections of the Whitney Museum of American Art, New York; Brooklyn Museum; The Studio Museum in Harlem; LACMA, Los Angeles; Virginia Museum of Fine Arts, Richmond; Guggenheim Museum, New York; and Modern Art Museum of Fort Worth, Fort Worth, TX, among other institutions. Roberts received her MFA from Syracuse University. She lives and works in Austin, Texas, and is represented by Stephen Friedman Gallery, London, and Susanne Vielmetter Los Angeles Projects.

Sam Abell (born 1945) is one of America's most influential documentary photographers, celebrated in particular for his in-depth color photo-essays for National Geographic magazine. He has also made a considerable impact as a teacher and author. Abell's career is now the subject of The Sam Abell Library, a new publication project from Radius inaugurated with this volume--the first in a series of four multi-volume sets. Each of these sets is themed around a particular genre: the photography of places; the photography of nature; the photography of the past; and the photography of ideas. Essays by Abell appear in all of the books. In Life and Still Life, Abell explores three different cultures: Newfoundland; Hagi, Japan; and Northern Australia. This first boxed set also includes a fourth book with an illustrated essay by writer and curator Leah Bendavid-Val examining Abell's evolution as an artist.

A panoramic visual study of the wartime incarceration camps in which Japanese Americans were unjustly detainedThis volume conducts an immersive visual journey through the incarceration camps that held 120,000 Japanese Americans during World War II. American photographer Sandy Sugawara (born 1953) and Spanish photographer Catiana Garcia-Kilroy (born 1964) tell the story of each camp through original and archival photographs, personal stories and government documents.Interweaving prisoners' stories printed on translucent paper with dramatic landscapes, the design captures the multilayered feelings of anger, vulnerability, determination, cultural pride and shared grief of those who lived in these camps. The book also contains an essay by Donna Nagata, professor of psychology at University of Michigan, who has conducted important research on the multigenerational consequences of the incarcerations. Given today's continuing climate of intolerance, it is urgent that this period of our history not be forgotten.

Long-lost images of family and friends from the late 1970s by the acclaimed portraitist and chronicler of domesticityOver the course of her 40-year career, acclaimed American photographer Tina Barney has illuminated the inner lives of her subjects, observing the generational repetition of familial traditions and rituals as played out in domestic settings. In the summer of 2020, at the height of Covid and quarantine restrictions, Barney began to sort through her archive, which contained thousands of 35mm negatives taken between 1976 and 1980. Finding these long-forgotten images engendered a rediscovery of some of her most intimate memories as a young artist: "the photographs in this book seem like X-rays of my mind and thoughts through the summers I spent with family and friends on the East Coast and in Sun Valley, Idaho."Revisiting her work from decades prior, Barney found herself meditating on who and where she was at the time, as well as why and how she approached specific subjects. What was the impetus to capture these moments? The Beginning encompasses Barney's nostalgic exploration of her earliest work in the medium, and further reflects a self-examination of this formative period through a critical lens.The photographs of Tina Barney (born 1945) are in numerous public collections, including the Museum of Modern Art, New York; the Whitney Museum of American Art; Los Angeles County Museum of Art; the Museum of Fine Arts, Boston; and the Nicola Erni Collection, Zug, Switzerland. Barney's work has been the subject of major recent exhibitions at the New Orleans Museum of Art; Frist Center, Nashville; and the Barbican, London.

From Alison Rossiter: "In honor of Anna Atkins who was the first person to illustrate a book with photographs, I have produced 'Compendium 1898-1919', a chronology of 12 assemblages made from the earliest expired photographic papers in my collection. 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, and I consider these effects to be subject matter." This book, a co-publication with the New York Public Library and Yossi Milo, includes all 12 works from the series at actual scale, along with close-up details, photographed by Peter Riesett, Head Photographer, Digital Imaging Unit, New York Public Library. The reference dates, which cover world events such as World War II, and art-historical references like Picasso's Blue Period, will also be included as a reference key in the back of the book. Co-published with New York Public Library & Yossi Milo.

"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."--www.bookdepository.com.

From the author of Welcome to Camp America, an eerie exploration of America's performance of power and identity in the post-9/11 era What are the stories we tell ourselves, the games we play, to manage unsettling realities? Made on ten military bases across the United States since 2016, Necessary Fictions documents mock-village landscapes in the fictional country of "Atropia" and its denizens, roleplayers who enact versions of their past or future selves in realistic training scenarios.Costumed Afghan and Iraqi civilians, many of whom have fled war, now recreate it in the service of the US military. Real soldiers pose in front of camouflage backdrops, dressed by Hollywood makeup artists in "moulage"-fake wounds-as they prepare to deploy.Brooklyn-based conceptual documentary artist and former civil rights lawyer Debi Cornwall (born 1973) photographs this meta-reality-the artifice of war-presented in the book with a variety of texts to provoke critical inquiry about America's fantasy industrial complex. The book includes an essay by PEN Award-winning critical theorist Sarah Sentilles.

Aerial and on-site photographs made at a classified military site in the Great Salt Lake Desert by David Maisel, author of Black MapsDavid 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.

Published in conjunction with exhibitions held at the Phoenix Art Museum in 2018

This is the first retrospective on the paintings of New York-based artist David Deutsch (born 1943), spanning 50 years. Deutsch has used a variety of techniques-painting, sculpture, photography, drawing and mixed media-to create artwork that addresses complicated themes of the interior and exterior. From voyeuristic nighttime aerial photography to painterly abstracted landscapes, Deutsch wrestles with how we occupy our lives and the tension that exists as we navigate paths through time and memory. Most recently, Deutsch has focused primarily on painting large-scale monotypes, about which Roberta Smith of the New York Times notes, "Mr. Deutsch's paintings are grown-up, complex of space and surface, and rich in notions of human interaction or the lack thereof; voyeurism and solitude; and often an ambiguous ominousness." This extensive monograph provides a thorough look at a body of work that is at once innovative, familiar and provocative.

Laura Carpenter was instrumental in bringing contemporary art to Santa Fe in the mid-1990s. She began her career as a gallerist in Dallas, Texas, showing artists such as Jean-Michel Basquiat and Martin Puryear. Upon her arrival in Santa Fe, she held solo shows for the likes of Kiki Smith, Christo and Jeanne-Claude, Juan Muñoz and Susan Rothenberg, transforming the Santa Fe art world. Ellsworth Kelly, John Chamberlain, Ed Ruscha, Joan Mitchell, Louise Bourgeois and Marina Arbamovic all had shows or came to support fellow artists. Carpenter was also a founder of SITE, helping to permanently establish Santa Fe as a premier destination for contemporary art. Through the lens of Carpenter's experience, this book presents a combination of personal anecdotes, interviews and archival material—from Carpenter as well as critics, curators, art dealers, collectors and artists—to create a historical snapshot of this pivotal time in Santa Fe.

San Francisco-based photographer Light delivers the fourth book in his series of aerial surveys of the American West, taking viewers into the vast geological space and time of the Great Basin.

"This catalogue accompanies the inaugural Suzanne Deal Booth Art Prize and the exhibition: Rodney McMillian: Against a Civic Death, The Contemporary Austin-Jones Center, February 1-August 26, 2018"--Flyleaf.

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.

Transcendental Concord documents the spirit of Transcendentalism, the literary, social, and philosophical movement that arose in the mid-19th century. While the circle of Transcendentalists in New England was wide, at its center was a core group that lived in Concord, Massachusetts. Bronson Alcott and daughter Louisa May Alcott, Ralph Waldo Emerson, Nathaniel Hawthorne, and Henry David Thoreau lived within a few miles of each other for nearly 20 years, regularly meeting in each other's homes and on the paths of Walden Woods to discuss their writings and beliefs. In the course of a year and in every season North-Carolina based photographer Lisa McCarty photographed the sites where these Transcendentalists lived and wrote in Concord. McCarty's parallel reverence for the natural world is evident in her photographs which point to large and small variations in environment, season and light. McCarty uses long exposures and camera movement in order to capture these variations. Transcendental Concord pays homage to Transcendentalism not only in capturing a shared landscape, but in McCarty's technique: her keen observation of natural phenomena and openness to experimentation and chance.

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."

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.

Photographs by Mark Klett and Byron Wolfe; text by Rebecca Solnit.

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.

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.

Best known for her technique of creating photo collages by suturing together images into a grid format, American photographer Masumi Hayashi (1945-2006) trained her lens on Rust Belt landscapes, EPA Superfund sites, Japanese American internment camps from World War Two and decaying prisons.

Matter is culled from nine years of picture making, a tightly woven sequence conjuring elements of the supernatural across multiple terrains. Carrying a metaphoric visual trope throughout¬ the photographs depart from the confines of the descriptive landscape. Rendering cultural and natural transformations democratically, Matter reveals an unaccountable world where water seeps red, cement cubes fall from the sky and green foxes are unearthed.

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.

"For over 40 years, Tom Joyce has employed hands on knowledge of diverse materials to produce cast, forged, and constructed sculpture, charred drawings, photographs, and mixed-media artworks that often incorporate industrial remnants from large scale manufacturing or iron fragments collected for their significance to a specific region or event. As in recent commissions for the Museum of Arts and Design in New York (seven interactive sculptures forged from 19,500 pounds of salvaged stainless steel), and for the National September 11 Memorial Museum, (a 75-foot-long quote by Virgil forged from 8,000 pounds of iron retrieved from the collapsed World Trade Center towers), Joyce continues to examine, through the inheritance of prior use, the environmental, political, and historical implications of using iron in his work. Includes in-depth essays from MaLin Wilson-Powell and Ezra Shales."--Publisher's description

Published to accompany exhibition "James Drake: anatomy of drawing and space (brain trash)" at the Museum of Contemporary Art, San Diego, July 11 to September 14, 2014. Also exhibited at the Blanton Museum of Art, University of Texas, Austin, Oct. 19, 2014-Jan. 4, 2014.

Charles Ross' fascination with light, time and the space of the stars has produced a major earthwork, large-scale prism installations, sculpture, and painting with dynamite. From Star Axis, a vast architectonic earth/star work in the New Mexico desert, to his Solar Burns series made by burning wood-panel monochromes with focused rays of the sun, Ross allows the natural patterns and forces of the cosmos to inform his work. The Substance of Light is a comprehensive volume that covers over four decades of work and features full-color illustrations of his Solar Spectrum artworks, Star Axis, his Solar Burns, Star Maps and Explosion Paintings and Drawings, along with early work and selected architectural commissions. Major essays by Thomas McEvilley and Klaus Ottmann, as well as an extensive interview with Loïc Malle and a range of historical texts are also included.

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.

In her latest monograph, Sandra Cattaneo Adorno explores the unique character of Rio de Janeiro through images that combine moments of street photography with abstract, lyrical compositions. Adorno's photographs emphasize the human body which, isolated and transformed by the strong golden light, contrasts against the natural beauty of Rio's beaches and acquires a symbolic dimension. As a result, Adorno's beguiling images not only capture people and moments with visual maturity and acuity, but also evoke something quintessential about the city, something a little darker: the bittersweet yearning that Brazilians call saudade, which hints at other levels of reality, the invisible ones of poetry and magic.--

Aller captures the infinitely shifting colors and textures of water, sand and skyThis 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.

"An artist's book of augmented portraiture, documenting the symbolism and material culture of the Bâiilukaa (Apsâaalooke)."--Provided by publisher.