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After cofounding Fantomin 2009 in Milan and New York, Cay Sophie Rabinowitz is continuing the endeavor by launching her magazine with the new name of Osmos. Osmosmagazine focuses its editorial practice on texts and image series by practitioners and professionals investigating the uses and abuses of photography. Alongside more conventional genres, such as Essay, Interview, and Portfolio, Osmosframes some of its content in sectors, such as "Collections," about curatorial and archival practice; "Means to an End," about the side effects of non-artistic image production; and "Picture Perfect," where photography is implicit in the production of the featured work, but is not always the resulting fi...
After cofounding Fantomin 2009 in Milan and New York, Cay Sophie Rabinowitz is continuing the endeavor by launching her magazine with the new name of Osmos. Osmosmagazine focuses its editorial practice on texts and image series by practitioners and professionals investigating the uses and abuses of photography. Alongside more conventional genres, such as Essay, Interview, and Portfolio, Osmosframes some of its content in sectors, such as "Collections," about curatorial and archival practice; "Means to an End," about the side effects of non-artistic image production; and "Picture Perfect," where photography is implicit in the production of the featured work, but is not always the resulting fi...
Iván Navarro is known internationally for his sociopolitically charged sculptures of neon and fluorescent light. The sculptures and installations of Iván Navarro grow out of the legacy of minimalism and modern design, but they subvert the cool detachment of their forms with pointed sociopolitical critique. Born in Santiago, Chile, in 1972, Navarro grew up under Pinochet’s brutal military dictatorship. In order to better understand this dark history, Navarro uses light—a symbol of hope and truth—as his medium, constructing chairs, ladders, doors, and even shopping carts out of neon and fluorescent lights. With their ambient glow and live current, the works are equally seductive and unnerving. In this first monograph on the artist, Cay Sophie Rabinowitz considers the personal stories underlying Navarro’s sleek, industrially produced works. In conversation with Hilarie M. Sheets, Navarro discusses his relationship to modernism, minimalism, and language.
Part of the generation of photographers that included Juergen Teller and Terry Richardson, Marcelo Krasilcic (born 1969) moved from São Paulo to New York in 1990 to study art and photography, and quickly became known for his spare, iconic and sweetly erotic photographs of liberated youth, artists, designers, musicians and otherwise beautiful and creative personalities. Krasilcic captured the style of the 90s in situ, outside of the studio, and his photographs of people like Maurizio Cattelan, Everything but the Girl and Chloë Sevigny were immediately absorbed by the most influential magazines of the era, including Purple, Dazed & Confused, Self-Serviceand Visionaireto name a few. Today, Kr...
Bev Grant (born 1942 in Portland, Oregon) is an American folk singer, feminist, political activist, as well as a photographer and documentary filmmaker. "When I sat in on a workshop given by Students for a Democratic Society at Princeton University in 1967, I had no idea of the impact it would have on the rest of my life. The workshop topic was women's liberation. It was an awakening, a dawn of consciousness that gave me a framework to understand my life and a path that I continue to follow." (Grant).
This first monograph on the oeuvre of Kon Trubkovich (born 1979) surveys the Russian artist's career in color reproductions and in-depth critical discussion, traversing the period from his first museum exhibition in 2006 to the present day. His works delve into themes of rebellion, memory, imprisonment and perception through a wide variety of media, including painting, drawing, photography and sculpture. Trubkovich's multimedia creations are generally based upon film stills, sourced from videos that range from prison footage to found movie clips and home videos. Extended across a series, these isolated fragments, generally distorted or grainy, evoke human processes of memorialization and psychological narrative. The artist's solo exhibitions, all of which are touched upon here, include No Country for Old Men MoMA (PS1), Almost Nowhere, Signali (both Marianne Boesky) and Leap Second (OHWOW).
Documenting an invisible, inaccessible exhibition within the radioactive Fukushima exclusion zone. The twelfth volume of the Critical Spatial Practices series focuses on “Don’t Follow the Wind,” the acclaimed collaborative project situated in Fukushima’s radioactive exclusion zone. The book explores the long-term environmental crisis in the coastal Japanese region through this ongoing, inaccessible exhibition, which maintains traces of human presence amid the fallout of the March 2011 nuclear reactor meltdown that displaced entire towns. What can art do in a continuing catastrophe when destruction and contamination have made living impossible? The exhibition is located inside the exc...
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Incorporating the dynamic visual vocabulary of maps, urban planning grids, and architectural forms, alternating between historical narratives and fictional landscapes, Julie Mehretu's beautifully layered paintings and drawings combine abstract forms with the familiar, pairing the Roman Coliseum with floor plans from international airports, Le Corbusier's unbuilt megacity with blueprints from Zaha Hadid and Tadao Ando, and dashing it all together with a color field full of abstract geometry. What does a city in motion look like? The closest picture of it exists in Mehretu's semiabstractions, their maelstroms of color and line, power, history, globalism and personal narrative frozen, swirled and encased in coats of accumulated resin.
First monograph surveying the renown American artist's oeuvre including photography, sculpture, a film collaboration with Bradford Young.