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Portraits of American and Middle Eastern young women entering adulthood from Rania Matar, author of L'Enfant-FemmeAs a Lebanese-born American artist and mother, Rania Matar's (born 1964) cross-cultural experiences inform her art. She has dedicated her work to exploring issues of personal and collective identity through photographs of female adolescence and womanhood--both in the United States where she lives, and in the Middle East where she is from. Rania Matar: She focuses on young women in their late teens and early twenties, who are leaving the cocoon of home, entering adulthood and facing a new reality. Depicting women in the United States and the Middle East, this project highlights how female subjectivity develops in parallel forms across cultural lines. Each young woman becomes an active participant in the image-making process, presiding over the environment and making it her own. Matar portrays the raw beauty of her subjects--their age, individuality, physicality and mystery--and photographs them the way she, a woman and a mother, sees them: beautiful, alive.

"Design: David Benjamin Sherry, David Chickey, Montana Currie"--Colophon.

Sculpture as states of matter: Christine Corday's ingenious adaptations of natural processesThis monograph covers the past 20 years of New York-based artist Christine Corday's (born 1970) practice. Corday combines her interests in the sciences and fine arts to paint, sculpt, draw and design. Her artistic approach consists of manipulation of matter into different states, producing massive sculptures that viewers are meant to experience through touch, leaving memories on the surface of her work. Her most recent work includes the "Sans Titre"/ITER project, which includes Corday's sculptures within the world's first star built on earth; the Protoist Series, a group of metal alloy sculptures designed to change and rust with human interaction (the first was displayed under the High Line in New York City and subject of a solo exhibition at Los Angeles County Museum of Art); the black iron oxide color selected to cover the National September 11 Memorial; abstract charcoal drawings; and abstract synthetic polymer and pigment paintings. The term "protoist," coined by the artist, is meant to describe forms in and out of a solid state.

The work of photographer and Rhode Island School of Design professor Steven B. Smith (born 1963) chronicles the transition of the Western landscape into suburbia. Robert Pinsky, US Poet Laureate, wrote of his work, "Smith's images record not so much a contrast as two violent absences joining as a single force. Landfill, seedling, turnabout, heating coil collude with the sky and mountains in a triumph of disproportion: scale not so much confused or lost as irrelevant." Steven B. Smith: Your Mountain Is Waiting documents the accelerating suburbanization of Smith's native Utah. Peeling back the layers of westward expansion with equal parts subtlety and irony, Smith captures the new McMansions springing up against the rocky, rust-red mountains and deep blue skies of the West. Smith is equally attentive to the cast of characters that fill these new landscapes--the people that build them, and the people that live in them.

Brad Temkin 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 re-use 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 or salt or chemicals, a transformation occurs. Temkin believes it matters less what each structure really is used for, or whether the water in his pictures are pure or waste. He is drawn instead to the strangeness of these forms and the distorted sense of scale. Moving beyond mere description, he embraces the abstract and at times surreal landscape of water transformation.

This multi-volume publication contains exhaustive documentation of each work by of one of the world's greatest living painters and sculptors.

This publication traces the arc of Hudson Valley-based artist Marcuse's work over a 15-year period. Fueled by the Biblical narrative of the fall from Eden, these projects use fantastical imagery to explore cycles of growth and decay and the dynamic tension between the passage of time and the photographic medium.

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 /

Linn Meyers is best known for her intricate line-based paintings and drawings, and her large-scale installations. This book provides a comprehensive survey of site-specific wall drawings in museums and galleries since 2000, as well as the detailed preparatory drawings and plans created by the artist for these projects, plus recent paintings that inform, and are informed by, the site-specific works. Meyers's large projects require a great deal of endurance and involve drawing in the gallery space over the course of days, sometimes weeks or months, accumulating lines into dense and intricate compositions. The scale of these projects allows Meyers to respond to the existing architectural features, magnifying the wholly committed performativity of her process. On Meyers' exhibition for The Hammer Museum, Senior Curator Anne Ellegood wrote, "The sense of being present while viewing the work is also amplified at this larger scale, allowing viewers to experience the work not just visually but also physically. To see a wall drawing is to be surrounded by it and to feel oneself to be part of the work."

A multilayered and poignant portrait of Cuba, from husband-and-wife photogrpahy duo Alex and Rebecca Norris WebbBack in print, this multilayered portrait of "the violet isle"--a little-known name for Cuba inspired by the rich color of the soil there--presents an engaging, at times unsettling document of a vibrant and vulnerable land. It combines two separate photographic visions: Alex Webb's exploration of street life, with his attuned and complex attention to detail, and Rebecca Norris Webb's fascination with the unique, quixotic collections of animals she discovered there, from tiny zoos and pigeon societies to hand-painted natural history displays and quirky personal menageries.The result is an insightful and intriguing blend of two different aesthetics inspired by Cuba's existence over the last 50 years in an economic, political, cultural and ecological bubble virtually untouched by the rest of the world, and unlikely to remain that way for much longer. Award-winning writer Pico Iyer provides an accompanying essay for this English/Spanish bilingual edition.

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.

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.

In 1990 Enrique Martâinez Celaya left a promising career in physics for art and since then he has pursued his work with a singular and uncompromising vision. Working in a variety of media and deeply engaged with philosophy, literature and science, Martâinez Celaya has created an expansive body of work that has led him to become one of his generation most influential artists. This publication, the product of extensive research from his studio archive, traces the development of Martâinez Celaya thought through previously unpublished photographs; illustrations of hundreds of artworks; archival notes and writings; sketches and drawings for his public projects and exhibitions; excerpts from the critical reception of his work; and an insightful introduction to the artist work by art historian and long-time collaborator Daniel A. Siedell. --Amazon.

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.

Rift' refers to the eastern edge of the North American Plate where it meets the Eurasian Plate along the Mid-Atlantic Rift in Iceland. New crust is formed as magma pushes up from the mantle; the land along the rift is unstable and raw. Marion Belanger (born 1957) documents this land and its structures: geothermal electricity, hot pools, volcanic excavation sites, houses, new earth and cultural relics within the landscape. In 'Fault', meanwhile, she photographs the shifting western edge of the North American Continental Plate along the San Andreas Fault in California, focusing on traces of the tectonic plate edge and the artifacts of our built environment upon them. Though characterized by earthquake activity, the landscape is often striking in its visual normalcy. Capturing moments of anticipation in settings that shift between the wild and the contained, 'Rift/Fault' creates a visual tension that questions the relationship between geologic force and the limits of human intervention.

Fold-out in pocket affixed to page [3] of cover.

Bill Jacobson: Place (Series) showcases the celebrated photographer's newest body of work, which he describes as "the result of inserting rectangles of various sizes and surfaces in both constructed and natural settings ... the work questions what is 'real' and what is 'abstract, ' while suggesting that the creation of places ... comes from choice and desire." Jacobson (born 1955) creates work that speaks to the artificial geometric constructs that dominate even supposedly natural photography; a photographer, we are reminded through these visibly curated images, is always creating the subject of his photograph. Place (Series), while visually abstract, touches on something quite human in its exploration of the impulse to construct space, image and the world around us.

Rooftop draws poetic attention to an important new movement that counters the heat-island effect occurring in cities. Green roofs reduce our carbon footprint and improve storm water control, but they do far more. They reflect the conflict of our existence, symbolizing the allure of nature in the face of our continuing urban sprawl. Temkin's images, shot in locations ranging from Chicago to Zurich, do more than merely document rooftop gardens. By securely situating the gardens within the steel, stone and glass rectangularity of urban downtown, he asks viewers to revel in their far more open patterns, colors and connection to the sky. Essays by John Rohrbach, Steven Peck and Roger Schickedantz address such things as the aesthetics and intent of the photographs, living architecture, design, sustainability and the idea of bringing nature into a new urban context.

This survey presents the work on paper of Charles Arnoldi (born 1946), a nationally renowned artist based in Los Angeles. Arnoldi has been described as an artist who "draws in space" to create his unique assemblage works of art. Throughout his long career he has been fascinated with shape and pattern as they apply to advanced formal concerns, from his 1970s paintings made entirely of natural forms, to his current geometric work. Internationally renowned architect Frank Gehry has said that "the maturing Arnoldi has a secure color sense and the ability to work at large scale as well as to produce tiny, exquisite watercolors." Gehry cites Arnoldi as an influence in his own work, stating that "this is an artist whose best is yet to come, who is still experimental and still willing to risk."

"Alex Webb and Rebecca Norris Webb take an elegiac look at Rochester, New York. For this project, Alex took images with his last rolls of Kodachrome, a formerly vibrant color film that can now only be processed as black-and-white. The resulting photos have a weathered quality akin to a fading memory. Alex also took to the streets of Rochester and shot in digital color--work that punctuates the black and white work with images from his signature style. Rebecca, who still uses film for all her work, responded to the medium's uncertain future by creating an elegiac refrain of color still lifes and portraits of Rochester women past and present. Woven into the book are quotes by many of the famous writers and thinkers who have been connected to Rochester, including women's rights activist Susan B. Anthony, abolitionist Frederick Douglass, and poets John Ashbery and Ilya Kaminsky. And the authors have also created a timeline on the cultural history of the city that traces the evolution of a once-vibrant and now complex city."--

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, and a supplemental booklet contains hundreds of portraits and evocative messages from Kratsman's Facebook project.

In 2007, Arizona artist David Taylor began photographing the monuments that mark the border between Mexico and the United States, aiming to document each of the 276 obelisks installed by the International Boundary Commission following the Mexican/American War. Taylor's documentation is reflective of a survey conducted by the photographer D.R. Payne between 1891 and 1895 under the auspices of the Boundary Commission (now the International Boundary and Water Commission or IBWC). While many people have photographed the border, there has been no full documentation of the monuments in more than 100 years. This volume combines Taylor's series with texts by curator Claire Carter and cultural geographer Daniel Arreola, humanizing a zone in transition in the wake of drug smuggling, immigration debates and a post-9/11 security climate. Monuments exists as a typology, the incongruous obelisks acting as witness to a shifting national identity as expressed through an altered physical terrain.

Scouring the fallow landscape around the Llobregat river and the Rubí stream near Barcelona with her 8 x 10 camera, Janelle Lynch (born 1969) searches for evidence and omens of nature's life cycles. Her photographs of anthropomorphized trees, walls of litter-strewn vegetation, rocks and disintegrating leaves, all taken during a four-year stay in Barcelona between 2007 and 2011, are informed by three figures whose texts are excerpted in this volume: Roland Barthes, particularly his discussion of mourning in Camera Lucida; Charles Burchfield, whose pantheistic painterly animations of landscape have much inspired Lynch; and Wendell Berry, whose essay on approaching nature with respect and humility helped to further hone her process. Barcelona is also conceived as a homage to Lynch's grandmother, who died in 2008, and to the victims of a devastating flood in the region that occurred in 1962.

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.

In the summer of 2013, SITE Sante Fe presents a new project by Enrique Martínez Celaya (born 1964) entitled The Pearl. For this exhibition, Martínez Celaya transforms all 15,000 square feet of SITE's gallery space into an immersive installation environment that includes several large and small-scale paintings, sculptures, video, waterworks and olfactory interventions. This exhibition integrates many of the elements and ideas that the artist has engaged with over the last several years. For this project, the artist takes the notion of home as both a point of departure and a destination to craft a multisensory experience that is an extended metaphor for a journey of emotional and psychological reflection. Visitors experience the installation in a specific sequence that allows a multilevel narrative to unfold coherently. This volume records the conception of the work with drawings and studio photos, as well as installation images of the final work.

American photographer Betsy Karel first visited Waikiki in 2009 with her husband, who was then in the final stages of terminal cancer. While there, the symptoms of his disease seemed to temporarily recede amid his joy in Waikiki's beauty and resources, and Karel promised to capture his happiness in a new series of photographs. This highly personal book, which continued over the next four years, is dedicated to his memory. Karel's vision of "paradise" is kaleidoscopic and vivid, and her rendering of Waikiki is often ambiguous and complex. The people she pictures are relaxed, reveling in the sensuous pleasures of a sun-drenched destination. Yet while depicting a manufactured dreamscape that oscillates between real and imaginary worlds, these photographs testify to the intensity of our desire to experience our dreams--and equally to escape unpleasant realities.--Amazon.com.

Some pages fold out to display particularly large pictures.

Key to images (folded sheet) inserted in pocket on back inside cover.

"This is a book of seven stories inspired by the people of Matfield Green, Kansas and the surrounding prairie. 1990-2010." -- p. [13]

For four years Justin Kimball (born 1961) accompanied his brother Doug, an auctioneer, into the houses of the recently deceased or dispersed. While Doug cleared these spaces of items for potential resale, Justin sought within them the evidence of an individual's life. Photographing "the smallest objects (a note, a box of hair pins, a stain on a pillow)," he reimagines their existence and relationship to their absent owners. "I use the camera's descriptive power and the photographic illusion of truth to create the narrative and inspire feelings about its subject," he writes of these images. "The resulting photographs are my perception of what happened in those spaces: who lived there? What was hidden and what was seen?" Kimball's color photographs explore the minutiae of everyday life and contemplate our brief and humble legacies before they are cleaned up and cast to the wind. Beautifully produced, Pieces of String comes as a bound paperback held by a thick rubber band inside a wrap-around, board cover that features a tipped-on color image and printed staining effects that evoke the photographs' textures of wear and tear.