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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 Richly illustrated with previously unpublished materials from the gallery‿s archive, this volume provides insight into the early careers of some of contemporary art‿s most enduring figures.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 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.

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.

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.

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.

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.

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"--

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

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.

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."

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 /

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.

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.

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.

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.

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.

"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."--

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.

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.