Bøger udgivet af Radius Books

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.

A legendary figure in Californian art, Tony DeLap (born 1927) was associated with Los Angeles' 1960s Finish Fetish school (alongside the likes of Craig Kaufman and Larry Bell), and has been a mentor to some of California's most notable artists, including Bruce Nauman, James Turrell and John McCracken, who all studied with him. Where many artists of the Finish Fetish school eschewed the material facture of their works, DeLap has almost always chosen to construct his work himself, meticulously producing freestanding sculptures in aluminum, fiberglass, lacquer, Plexiglas, resin and molded plastics and fabrics. DeLap was included in the two shows that helped to define the Minimalist movement--Primary Structures at the Jewish Museum (1966) and American Sculpture of the Sixties at the Los Angeles County Museum of Art (1967)--and his work brilliantly merges the austerity of Minimalism with Op art illusionism. This volume surveys his career to date.

Swiss artist Rudolf de Crignis (1948-2006) began his career in video, photography and performance art. In 1985, a studio fellowship in New York introduced the artist to the work of American minimalist painters such as Robert Ryman, Ad Reinhardt, Agnes Martin and Barnett Newman, precipitating his shift to painting. De Crignis began by making paintings that at first appear to be a single hue, but which were actually begun as a finely worked, layered, white gesso surface. This substantial volume is the first to present a thorough overview of Crignis' austere and meditative work.

After years of making large charcoal drawings, James Drake (born 1946) found himself making drawings that were predominately white and airy, from which he extracted images using an exacto knife. The red charcoal drawings also collected here were made in response to the white cut out drawings. Published on the heels of a successful retrospective, this is the first monograph on Drake's drawings.

In March of 2010, land artist Jim Denevan (born 1961) and his crew journeyed to the world's largest lake--Lake Baikal in southwestern Siberia--where they created the world's largest artwork on the frozen surface of the water. Enduring sub-zero temperatures and blistering winds, the seven participants used chain fencing to inscribe the ice with a series of circles based on the Fibonacci sequence (where each number is the sum of the previous two), which varied in diameter from an origin point of only 18 inches to nine square miles. The project broke the record for the largest artwork in existence, which was previously held by Denevan's 2009 work in the Nevada desert. This volume records the highs and lows, the comedy and the drama, of this extraordinary venture, as well as the final ephemeral work itself.

Extensively covered by the media, debated by the governments of the world and claimed by vying religions, Israel is a remarkable case study for understanding the rise and fall of empires. By highlighting the country's historic architecture and its highly contentious ruins, Israeli photographer Shai Kremer (born 1974) questions how these sites figure today in the discourse of the Israeli-Palestinian conflict and the future of the nation. "Fallen Empires" invites viewers to consider new relationships between the histories and identities assembled and disassembled in the creation of modern Israel. As Kremer explains, "Israel is overloaded with sediments of past empires. More than half of the current IDF (Israel Defense Forces) strongholds rest on the ruins of military sites of former empires. The recycling of these spaces, from one conqueror to the next, shows how most empires tried to conquer and rule this land, with one similar outcome: they eventually failed."

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.

"Notes from a Quiet Life" provides a rare opportunity to view works by a true photographer's photographer, who has traded prints with America's leading artists, but who refused museum and gallery exhibitions until just last year. Robert Benjamin (born 1947) bought his first camera in 1972, and since then has made humble documents of the life immediately at hand. "Notes from a Quiet Life" offers unguarded moments with the photographer's family--his daughter sipping soda, his son peacefully sleeping on the couch and tender moments with his wife--as well as small domestic details and visual surprises encountered on walks to the corner store. "The sheer magical presence of the people and things in his photos remind me of the beauty any of us can find in everyday life," says curator Eric Paddock. This volume reproduces 40 of Benjamin's color prints and Polaroids.

Issued in conjunction with the exhibition "Suzan Frecon: recent painting" held at the David Zwirner Gallery from September to October, 2010.

Gay Block (born 1942) began photographing her own affluent Jewish community in Houston in 1973. She expanded this study to include Jewish senior citizens in south Miami Beach, focusing with affection on the "bubbies" or grandmothers that (she attests) she wished she herself had had as a child. Later, Block's landmark work, Rescuers: Portraits of Moral Courage in the Holocaust, made in collaboration with writer Malka Drucker, explored the lives of non-Jewish Europeans who risked their lives to hide Jews from the Nazis. This series was exhibited at The Museum of Modern Art in 1992, and has been exhibited internationally. In 2003, Block's 30-year series of photo-, video- and written portraits of her mother, Bertha Alyce: Mother exPosed, was published to great acclaim and was cited as one of "Twelve Great Books Published During the Year 2003" by The Review of Arts, Literature, Politics and the Humanities. Here, for the first time, About Love surveys more than 30 years of Block's intimate and moving portraits. She explains the title thus: "Through photography, I have learned about love. I hadn't learned about it at home or in school... I couldn't have learned about love without photography, and I'm still learning." Organized chronologically, and published in an oversize format that is designed to evoke the idea of a family album, the book offers a thorough overview of the artist's approach to portraiture.

Text by David Scheinbaum, Malin Wilson, Amy Conger, Christopher Rocca, Jeanne Adams, Milton Esterow, Diana Edkins, Carl Chiarenza, Stuart Ashman, Elizabeth Glassman, Bill Jay.

Essay by Rebecca Solnit. Afterword by William Jenkins.

Foreword by Douglas Dreishpoon. Text by Carter Ratcliff.

With Lines and Lineage, Belgian-American conceptual documentary photographer van Houtryve takes aim at America's collective amnesia of history.

For his notorious photos, taken at night in Tokyo's Shinjuku, Yoyogi, and Aoyama parks during the 1970s, Yoshiyuki captured a secret community of lovers and voyeurs. His pictures document the people who gathered for clandestine trysts, as well as the many spectators who watched--and sometimes participated in--these couplings.couplings.

100 Works presents a comprehensive overview of conceptualist pioneer Sol LeWitt's numbered 'R Series' drawings, which he created from approximately 1971 to 1979. As early as 1967, LeWitt had started making cut, folded and torn works, which he intended would always sell for $100. "His wall drawings were already selling for thousands of dollars, so he wanted to have some artwork that everybody could buy," notes Jason Rulnick. This body of work consists of over 800 folded, torn and cut paper works, including cut maps, reproductions, and manipulated silver gelatin photographs. Thanks to extensive research throughout various private and public collections around the world, this volume includes over 100 color plates, along with an index/description of all 870 known works, information that has been made available through the artist's day books and journals uncovered (in the studio) by Veronica Roberts. In the high-flying commerciality of the contemporary art world, LeWitt's intention and foresight for this body of work resonates more than ever today.

Spanning nearly four decades of work by Santa Cruz-based sculptor David Kimball Anderson (born 1946), this monograph presents a chronology of Anderson's works, which balance the industrial and the delicate through such materials as steel, fiberglass and wood.

This volume examines the author's family, and their history as early settlers of New England (one ancestor, John Howland, was a deckhand aboard the Mayflower). Denny's photographs of the women in her family have a watchful quality, as if she is defining for herself what it means to be a woman.

The number 108, a potent symbol in Buddhism, Hinduism and other Eastern spiritual traditions, has inspired the work of Seattle-based abstract painter Catherine Eaton Skinner since 2004. Best known for her encaustic paintings incorporating natural imagery, Skinner's Gya Gye (Tibetan for 108) and related series represent dramatic experimentation in form, process and viewer engagement. Informed by extensive travels in Bhutan, India, Japan and elsewhere--along with her corresponding research into languages and philosophical systems--she expanded her mediums to include rope, fabric, glass, stones and found objects which she modified in unpredictable ways. Although some of the series, such as the Elements paintings, retain recognizable imagery, her recent series bring 108 into the 21st century. From QR code patterns to the simple, interminable zeroes and ones of binary language, Skinner discerns pictorial aptitude in contemporary digital codes. Other series explore ancient tally marks--both Eastern and Western--and the abstracting impact of systematically repeating simplified mountains or tight details of eyes, among other universal motifs.

"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."--

A vivid portrait of the assault on America's parks and forests this volume is a landscape photography project that captures the spirit and intrinsic value of America's threatened system of national monuments. In April 2017 an executive order called for the review of the 27 national monuments created since January 1996. In December 2017 the final report called on the president to shrink four national monuments and change the management of six others.

The authors explore the complicated relationship between art and anthropologyas it has been probed in the work of contemporary artists.

Captive elephants exhibit what biologists refer to as stereotypy, which includes rhythmic rocking, head bobbing, stepping back and forth, and pacing. Plumb traveled to over 70 zoos in the U.S. 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.

Coinciding with the touring exhibition Sound Speed Marker, this richly illustrated volume includes all three components of Hubbard/Birchler's newest trilogy of video installations as well as related photography and sculpture. Four essays and an interview with the artists contribute new scholarship in examining the genesis of the works.

Phyllis Galembo received her MFA from University of Wisconsin at Madison in 1977, and was a professor in the Fine Arts Department of SUNY Albany from 1978 to 2018. Galembo¿s photographs are included in numerous public and private collections, including the Metropolitan Museum of Art and the New York Public Library; she was a Guggenheim fellow in 2014, and also received a grant from the New York Foundation for the Arts. She lives in New York City.

Pomodori a grappolo is a set of three interconnected books by photographer and bookmaker John Gossage. Each book gathers images made in Northern Italy and Sardinia between 2009 and 2011, and each includes a short text by Marlene Klein. The written pieces-two stories and one epilogue-have been created in response to Gossage's pictures, and reflect the 30 years that Klein has spent living and working in Venice. An unexpected approach runs through all the details of the books, from the way elements repeat, or don't, to the choice of materials and color. Since these three books are each a different trim size but include photos that are reproduced at the exact same size, the collective project functions as a study of the way that ink on paper can inform perception. The resulting objects are classic Gossage-clever, unique and engrossing. A limited edition of the books, held together with magnets in a "disorderly" way, further explores these concepts.

Near White Sands, New Mexico, on July 16th, 1945, at 5:29:45 am Mountain War Time, a nuclear fireball sucked the white sand of the Jornada del Muerto desert high into a still dark sky. The melted sand returned to the earth as a rain of molten glass. Scientists named these glass shards Trinitite, after the site, Trinity. At the time, artist Judy Tuwaletstiwa (born 1941) was four years old. Haunted by the specter the United States released in detonating atomic bombs in New Mexico, Hiroshima and Nagasaki, Tuwaletstiwa turned to sand and fire, as artist in residence at Pilchuck Glass School in 2000, to explore this primal creative/destructive act. In a second residency the following year, she explored the Holocaust using blown glass. In 2012, Bullseye Glass Company gave Tuwaletstiwa a residency. Over 18 months, she worked with kiln-fired glass. It has become her central medium. The artist writes: "The raw material that becomes glass holds an interaction of wind, water, fire and earth, the organic creative process lived over geologic time. This transformative process continues to live in my studio through how I work with glass." A follow-up book to the sold-out Mapping Water (Radius Books, 2007), Judy Tuwaletstiwa: Glass weaves a story of her discoveries and explorations while working with glass over the past 4 years based on her work over the past 45 years in fiber, paint and writing. Her use of glass on canvas and paper is at once refined and surprising--a truly revolutionary response to a well-known medium. The highly personal combination of text and images in this book bridges fine art and craft, technology and nature, the political and the aesthetic, the conceptual and the material. Includes text by Ivy Ross, Tina Oldknow, Josine Ianco Starrells, Laura Addison, Diana Gaston, and Mary Kavanagh. Each copy of the book is unique: the cover has a hand-tipped on original piece of glass by the artist.

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.

This fully illustrated catalogue features new scholarship by Christine Mehring and Christoph Schreier and documents the 2013 exhibition at David Zwirner in New York. It is the first publication to tackle Palermös late work, which is characterized by explorations of the tensions between material and color, surface and depth, and figuration and abstraction¿ focusing in particular on the paper works he produced between 1976 and 1977, the last year of his life.