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Fifteen years of Platon's visually arresting and often dangerous documentation of human rights movements, from Cairo to the CongoThe celebrated portraitist Platon has spent much of his career photographing the famous and powerful, but he has also traveled the world documenting human rights activists and their quests for justice. The Defenders presents five photo essays spanning 15 years of work on these struggles in Burma, Egypt, Russia, the United States and the Democratic Republic of the Congo.In Burma, he took portraits of monks, sex workers, former child soldiers and the controversial political leader Aung San Suu Kyi. He was on the ground in Cairo for several weeks early in 2011, when Egyptians took to the streets and demanded the resignation of Hosni Mubarak. In Russia, he photographed and spoke with dissidents who have battled a slew of oppressive governments. Along the border between the US and Mexico, he documented victims of inhumane immigration policies. Finally, the chapter on the Congo documents the continuing trauma of sexual violence as a weapon of war.The full-bleed images are accompanied by short texts that contextualize the complex issues in each place, and retell Platon's own stories of shooting on location. The book also includes a poster.

Sculptures-as-meditations: Brush rearticulates Monet's magnificent lightwork in palm-sized objectsEarly in life, American painter, sculptor and jeweler Daniel Brush (born 1947) discounted Monet's work wholesale--that is, until the pivotal day he saw an 8-by-10 transparency that a collector and friend was considering acquiring. This encounter sparked an obsession with the light Monet so masterfully captured through oil paint. Thinking about Monet contains 60 of the more than 100 steel sculptures Brush created--all of which are meditations on light. The artist hand-carved the same steel for all of his palm-sized pieces, but each one articulates distinct properties of color and light. Mesmerizing in the intricacy and daring of their fabrication, Brush's objects bear comparison with the work of historical masters.This small, jewel-like book is covered in printed silk cloth, and all the sculptures are reproduced at their original size. Nicolas Bos, president of Van Cleef & Arpels, contributes a short foreword to the book.

A grand panorama of race and civil unrest in America's past and presentCarrie Mae Weems has often confronted the uncomfortable truths of racism and race relations over the course of her nearly 40-year career. In The Shape of Things she focuses her unflinching gaze at what she describes as the circuslike quality of contemporary American political life. For this new work, Weems created a seven-part film projected onto a Cyclorama--a panoramic-style cylindrical screen that dates to the 19th century--where she addresses the turmoil of current events in the United States and the "long march forward."Drawing on news and TV footage from the civil rights era to today, elements of previous films such as The Madding Crowd (2017) and new film projects that bring us into our tumultuous present, the films in The Shape of Things combine documentary directness with poetic rhythm to create an enveloping experience. The films are narrated by Weems, and the layering of her resonant voice with these images articulates the dangerous mounting resistance to the "browning of America." As Weems shows in these powerful works, America is irreversibly changed and changing.Carrie Mae Weems (born 1953) has received numerous awards, grants and fellowships, and is represented in public and private collections around the world, including the Metropolitan Museum of Art, New York; the Museum of Fine Arts, Houston; and the Museum of Modern Art and the Museum of Contemporary Art, Los Angeles. Weems lives in Brooklyn and Syracuse, New York.

"In book form, Kitchen Table is more intimate.... Unlike the experience of meandering through a museum, stepping back to appreciate the images and nearing the text panels to skim them, the pace of exploration is now in a person's hands." -Hilary Moss, New York TimesThis publication is dedicated solely to the early and canonical body of work by American artist Carrie Mae Weems (born 1953). The 20 photographs and 14 text panels that make up Kitchen Table Series tell a story of one woman's life, as conducted in the intimate setting of her kitchen. The kitchen, one of the primary spaces of domesticity and the traditional domain of women, frames her story, revealing to us her relationships--with lovers, children, friends--and her own sense of self, in her varying projections of strength, vulnerability, aloofness, tenderness and solitude.As Weems describes it, this work of art depicts "the battle around the family ... monogamy ... and between the sexes. Weems herself is the protagonist of the series, though the woman she depicts is an archetype. Kitchen Table Series seeks to reposition and reimagine the possibility of women and the possibility of people of color, and has to do with, in the artist's words, "unrequited love."