Bøger udgivet af Radius Books

"Three years ago, the artist James Drake (born 1946) began the ambitious project of creating 1,242 drawings that would trace and reference all of the developments of his multifaceted career. Known as both a sculptor and video artist, Drake has always considered draftsmanship to be a key to his process, and this body of drawings does not disappoint. It is both a fascinating tour of Drake's creative thinking and a testament to the simple power of graphite and ink on paper in the hands of a master of the craft. The volume is published to accompany a touring exhibition (titled The Anatomy of Drawing and Space) opening at The Museum of Contemporary Art San Diego in July 2014--the largest show of Drake's work to date"--Publisher's website.

West's material experiments in film and art explore Southern California's changing geographyThis 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.

Swazi craft meets digital photography in Kyle Meyer's astounding woven photos of a silenced LGBTQ communityKyle 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.

Linda Foard Roberts: Passage is a compilation of five series, created over the past ten years, by North Carolina based photographer Linda Foard Roberts. Roberts works in enduring genres--landscape, portrait and still life--and photographs her 21st-century surroundings using 4x5, 5x7 and 8x10 cameras and vintage lenses, some over 100 years old. The result is seemingly eternal, timeless, black-and-white photography that exploits the peculiar ability of the camera to produce images that are both extremely present and yet suspended in time. Over the past decade, Roberts has been exploring the inevitable movement of time in life, focusing on memory and the acceptance of transience and imperfection. The photographs in this volume, Roberts first monograph, are meant to be read like visual lines in a poem, metaphorical and layered, with each photograph bestowing a deeper meaning upon the next.

A beautifully produced celebration of Leo Amino's sculptural adventures in light and color, richly complicating the story of abstraction in AmericaThe 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.

On the pioneering gallery that helped launch American Minimalism and ConceptualismFrom 1969 until 2009, Max Protetch‿s gallery‿first in Washington, DC, and then later in New York City‿was a vibrant gathering place for art, architecture, politics and ideas. Richly illustrated with previously unpublished materials from the gallery‿s archive, this volume provides insight into the early careers of some of contemporary art‿s most enduring figures. Protetch was an advocate for Minimalism and Conceptual and Pop art in the 1970s; architecture in the late ‿70s and 1980s; and beginning in the 1990s, a broad range of contemporary art, including from China. Protetch advocated for artists such as Vito Acconci, Jo Baer, Robert Barry, Donald Judd, Dan Flavin, On Kawara, Robert Mangold, Sol LeWitt, Dan Graham and Lawrence Weiner; and architects such as Michael Graves, Tadao Ando, Peter Eisenmann, Frank Gehry, Zaha Hadid, Rem Koolhaas, Daniel Libeskind, Samuel Mockbee, Aldo Rossi and Robert Venturi.

A multimedia portrait of a fictional woman artist caught between two culturesIn 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.

The first monograph on Valdez's epic painterly tales of injustice and inequity in contemporary AmericaHouston-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.

Reclaiming the narrative: a major new examination of contemporary Indigenous photography across the USThis groundbreaking project summarizes how contemporary Indigenous photographers have taken over the conversation about how their cultures and lives are depicted through their dynamic embrace of three interwoven themes: Survivance, Nation and Indigenous Visuality. These photographers enact a key shift away from privileging settler-colonialism, foregrounding instead an Indigenous sense of community and visuality. Speaking with Light reveals and examines these Indigenous artists' explorations of themes such as identity, the contribution of customary practice to contemporary life, belonging and the assistance that Indigenous worldviews can provide to building healthier relationships with each other and the earth.The book comprises four sections bridged by transitions and ending with a globalization of the discussion. Texts by key Indigenous scholars are followed by a series of plates illustrating many of the exhibition works. Speaking with Light is a summary statement about the preoccupations and dynamism of Indigenous photography today.Artists and photographers include: Nicholas Galanin, Sky Hopinka, Zig Jackson, Kapulani Landgraf, Dylan McLaughlin, Alan Michelson, Shelley Niro, Jolene Rickard, Wendy Red Star, Cara Romero, Hulleah Tsinhnahjinnie and Sarah Sense.

A two-volume collection of materially ingenious photographs responding to identity and the American landscapeBinh 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.â€? 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.

A photographic fever dream of America‿s Midwest, from the author of Homegrown and Domestic VacationsFor 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 hometownâ€? 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,â€? Blackmon notes, “and my assignment is to chart the fever dreams of American life.â€? 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.

The wear and tear of an uncertain present: a photographic account of contemporary AmericaMassachusetts-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.

Material representations of electrical and chemical interventionsDavid 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.

Luminous late works on paper from the great Color Field pioneerExploring works from the later period of Helen Frankenthaler's life, Late Works, 1988-2009 features approximately 50 plates and archival images dating from 1988 to 2009. Originally inspired by the exhibition curated by Douglas Dreishpoon (Director of the Helen Frankenthaler Catalogue Raisonné and Chief Curator Emeritus of the Albright-Knox Art Gallery), the book expands upon the original exhibition to include a wide range of important pieces from this prolific period in the artist's career.Through her invention of the soak-stain technique, Frankenthaler expanded the possibilities of abstract painting while referencing figuration and landscape in unique ways. In her later years, her practice continued to evolve through her use of diverse mediums and processes, as she shifted from painting canvas on the floor to using larger sheets of paper that were laid out on the floor or on tabletops for easier accessibility. The continuity between the late work and what came before is striking.Helen Frankenthaler (1928-2011) has long been recognized as one of the great American artists of the 20th century. She was eminent among the second generation of postwar American abstract painters and is widely credited for playing a pivotal role in the transition from Abstract Expressionism to Color Field painting with her invention of the soak-stain technique, which involved pouring thinned paint directly onto unprimed canvas. The juxtaposition of amorphous fields of color and gestural brushstrokes produces a vigorous rhythm of activity that seems to convey both the expanse of landscape and the surface texture of mark-making.

The greater Los Angeles area covers 4,850 square miles--the size of a small country--and holds almost 18 million people. Perhaps America's largest human creation, it has been vilified and celebrated in equal measure since its inception. Is L.A. the face of the apocalypse, or an ultimate paradise at continent's edge--or both? With LA Day/LA Night, photographer Michael Light continues his aerial examination of the arid American West by bringing together two opposing views of the city in a double-volume set. LA Day stares directly into the sun, which blasts the metropolis in a relentless and specific light. LA Night drifts over the city as it grows darker, and begins to resemble the starry sky vaulted above. Referencing Ed Ruscha, Peter Alexander, Julius Schulman and writers from Philip K. Dick to Raymond Chandler, LA Day/LA Night continues Los Angeles's rich cultural legacy of examining its favorite schizophrenic subject--itself.

In the summer of 2003, Thomas Joshua Cooper traveled to Shoshone Falls in southern Idaho to photograph where the Snake River had tumbled across a 212-foot precipice, once one of the most sublime landscapes in the American West. Cooper's images were a response to the work of Timothy H. O'Sullivan, photographer on the late-nineteenth-century geologic and geographic surveys led by Clarence King and George M. Wheeler. Traveling to Shoshone Falls in 1868, and again in 1874, O'Sullivan made images that capture both the physical grandeur and emotional resonance of this unique landscape. Cooper's photographs simultaneously engage the work of his predecessor while expanding his own formal vocabulary in a project that generates a dialogue around history, geography and photographic process. Printed large-scale in lush tri-tone, this book reproduces 18 of Cooper's images in tandem with nine by O'Sullivan.

Located at 8,000 feet, 20 miles southwest of Salt Lake City in the Oquirrh Mountains, the Bingham Canyon copper mine is the largest manmade excavation in the world. More than half a mile deep, with a rim nearly three miles in width and a smelter stack only 35 feet shorter than the Empire State Building, Bingham has produced more copper than any mine in history. This volume presents San Francisco-based photographer Michael Light's series of breathtaking black-and-white aerial images of the Bingham Mine and Garfield Stack taken in the course of a single day. For the last several years, Light has become known for his aerial photos of the settled and unsettled areas of the American West, which reveal a fascination with geology, mapping and human impact on the land. These series have been published as limited edition, critically acclaimed artist's books; this is Light's first trade-edition release.

Introduction by Bill Gilbert, Kathleen Shields. Text by Lucy Lippard, William L. Fox.

Text by Britt Salvesen, Ph.D, Keith F. Davis.

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 2021Inspired 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.

Lyrical and luminous post-Color Field abstractions from a leading Texas painterDallas-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.

A sumptuous, large-format photographic homage to the end of the analog eraSince 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.

Luscious cyanotype collaborations with wintry watersFollowing Meghann Riepenhoff's (born 1979) acclaimed 2018 publication Littoral Drift + Ecotone, this volume features unique cyanotype prints made in freezing landscapes, where elements like precipitation, waves, wind and sediment physically etch into the photographic materials. Made in waters ranging from Walden Pond to remote creeks in Western Washington, the prints are full of subtle details, each expressing a slightly different temperature, type of water and crystalline structure of ice forming on photographic paper.Through this process, Riepenhoff participates in a type of "collaboration" with the landscape, in which she opens herself to chance and embraces the textures of nature into her working process. Variations of inky blues, flecks of gold and spots of white make up the dreamlike, abstract prints and create a raw and physical impression of nature. Rebecca Solnit contributes an accompanying essay.

Indigenous artists worldwide respond to environmental destructionDocumenting 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).

Two volumes issued in portfolio tãete-bãeche; share same ISBN.

Landscape photography between representation and abstraction: new adventures in print and tonality from scott b. davisCalifornian 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.

Photo-experiments in light and water with Robert Rauschenberg's expired gelatin silver paperIn 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.

"A comprehensive monograph spanning the forty-year career of Palm Springs-based, queer artist Jim Isermann (born 1955), this title shows the artist's first twenty years of extensive, chronological research of postwar art and design filtered through popular culture and consumerism, followed by twenty 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 twenty years of his career, with complex digitally designed patterns that found their form in commercially manufactured modules"--

Printed on paper made from Japanese shrubs, this fabulous work of book art documents Ann Hamilton's fascination with tactilityAmerican artist Ann Hamilton (born 1956) has, throughout her practice, used videos and still images as part of her larger installation works, though they have rarely been the singular focus of a project. This publication brings together vocabulary from four bodies of image-based work produced over the last five years and includes photographic portraits as well as lens-less contact scans of ornithological taxidermy, fabrics and garments, and objects from various personal and institutional collections. Reprocessed through multiple printings on tissue Gampi and newsprint, the images emphasize the tactile nature of their substrate and Hamilton's material hand. The work's physical presence is reinforced by the textured surface of the book's pages and scale shifts. This volume thus becomes an art object of its own; repetition, the atmospheric nature of the images' shallow depths of field, and the intuitive connections made between different bodies of work create an almost filmlike cadence that renders the felt qualities of touch.

The Vermeer of California's Light and Space movement: the first comprehensive monograph on Helen Pashgian's infinitely subtle and mutable sculptureOver 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.