Foreword by Paul Ha. Edited by Katie Holten. Text by Lia Gangitano. Contributions by Elizabeth Kolbert, James Howard Kunstler, A. M. Homes, Rebecca Solnit, Fritz Haeg, J.G. Ballard, Andrea Zittel, Anne Whiston Spirn.
Paperback, 6.25 x 8 in. / 120 pgs / 60 color. | 5/1/2007 | In stock $25.00
Published by Radius Books. Text by Rebecca Solnit, Lucy Lippard.
Until 2008 Nevada was the fastest-growing state in America. But the recession stopped this urbanizing gallop in the Mojave Desert, and Las Vegas froze at exactly the point where its aspirational excesses were most baroque and unfettered. In this third Radius Books installment of noted photographer Michael Light's aerial survey of the inhabited West, the photographer eschews the glare of the Strip to hover intimately over the topography of America's most fevered residential dream: castles on the cheap, some half-built, some foreclosed, some hanging on surrounded by golf courses gone bankruptcy brown, some still waiting to spring from empty cul-de-sacs. Throughout, Light characteristically finds beauty and empathy amidst a visual vertigo of speculation, overreach, environmental delusion and ultimate geological grace. Janus-faced in design, one side of the book plumbs the surrealities of "Lake Las Vegas," a lifestyle resort comprised of 21 Mediterranean-themed communities built around a former sewage swamp. The other side of the book dissects nearby Black Mountain and the city's most exclusive-and empty -future community where a quarter billion dollars was spent on moving earth that has lain dormant for the past six years. Following the boom and bust history of the West itself, Light's photographs terrifyingly and poignantly show the extraction and habitation industries as two sides of the same coin. Essays by two of the world's most celebrated cultural and landscape thinkers, Rebecca Solnit and Lucy Lippard, offer resonant counterpoint.
Published by Crymogea. Introduction by Rebecca Solnit.
Elín Hansdóttir's installation “Path” consists of a narrow tunnel that zigzags through a gallery or a museum. Light enters through vertical and horizontal slits that resemble cracks in the structure; sound effects further add to the disorientation. This volume examines the work, and contains an introduction by Rebecca Solnit, acclaimed author of Wanderlust and A Field Guide to Getting Lost.
BOOK FORMAT Flexi, 7 x 9.5 in. / 40 pgs / 12 color.
PUBLISHING STATUS Pub Date 8/31/2012 Out of print
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2012 p. 150
PRODUCT DETAILS ISBN 9789935420107TRADE List Price: $28.00 CDN $32.50
Invisible: Covert Operations and Classified Landscapes is Trevor Paglen's long-awaited first photographic monograph. Social scientist, artist, writer and provocateur, Paglen has been exploring the secret activities of the U.S. military and intelligence agencies--the "black world"--for the last eight years, publishing, speaking and making astonishing photographs. As an artist, Paglen is interested in the idea of photography as truth-telling, but his pictures often stop short of traditional ideas of documentation. In the series Limit Telephotography, for example, he employs high-end optical systems to photograph top-secret governmental sites; and in The Other Night Sky, he uses the data of amateur satellite watchers to track and photograph classified spacecraft in Earth's orbit. In other works Paglen transforms documents such as passports, flight data and aliases of CIA operatives into art objects. Rebecca Solnit contributes a searing essay that traces this history of clandestine military activity on the American landscape.
BOOK FORMAT Hardcover, 9.5 x 10.75 in. / 160 pgs / 69 color / 8 duotone.
PUBLISHING STATUS Pub Date 8/30/2010 No longer our product
DISTRIBUTION Contact Publisher
PRODUCT DETAILS ISBN 9781597111300TRADE List Price: $49.95 CDN $60.00
Published by Guggenheim Museum Publications. Text by Rebecca Solnit, Jennifer Blessing.
True North features the work of contemporary artists whose photographic or video-based work evokes the formal conventions of Northern Romantic landscape painting as well as its legacy in later nineteenth-century photography. Yet unlike their Romantic antecedents, the works in this exhibition are historically and politically self-reflexive and problematize the notion of a pure, unchangeable North. Rather than report a uniquely Northern essence or truth, this presentation is premised on the idea that our visions of the North are structured through our own varying positions. A fantastical place of fear, desire, refuge, conquest and decay, the North has played an increasingly important role in the work of contemporary artists interested in the socio-political issues of colonization and pollution, as well as aesthetic notions of the sublime. Accompanying a spring 2008 exhibition at Deutsche Guggenheim, Berlin, this catalogue includes entries on the featured artists: Stan Douglas, Olafur Eliasson, Elger Esser, Thomas Flechtner, Roni Horn, Armin Linke and Orit Raff. In the introduction, Jennifer Blessing, Curator of Photography at the Guggenheim Museum, sketches a theoretical framework for the exhibition, linking the recent focus on Northern locales to the qualities of the photographic medium itself. Rebecca Solnit's poetic essay gathers together personal recollections, reflections on literature and environmental and political concerns to explore various cultural fantasies and symbols associated with the North.
Published by Radius Books. Essay by Rebecca Solnit. Afterword by William Jenkins.
Historically, landscape photography was used as a means of documenting geographic and scientific exploration. Later it transitioned into a way to record nature and the spectacle of human progress. Rarely has it been employed more abstractly to convey an atavistic or ecstatic experience as it is in the new work of Michael Lundgren. This volume collects the Phoenix-based photographer's images of the Sonoran desert, which he has been shooting since 2003. Using the desert's constant flux to his advantage, Lundgren records the shifting effects of light and atmosphere to create stunning black-and-white images. These photographs express a lust for the primitive, and they reinvigorate the realm of landscape photography with notions of the sublime. Lundgren elaborates in his statement, "The landscape is only discernible because of the presence of what is fundamentally absent. Myth and metaphor remain unfixed, open." This volume includes a text by the acclaimed critic, historian and best-selling author, Rebecca Solnit, as well as an afterword by the noted scholar and professor William Jenkins, who curated the influential 1975 New Topographics exhibition.
Published by Contemporary Art Museum St. Louis. Foreword by Paul Ha. Edited by Katie Holten. Text by Lia Gangitano. Contributions by Elizabeth Kolbert, James Howard Kunstler, A. M. Homes, Rebecca Solnit, Fritz Haeg, J.G. Ballard, Andrea Zittel, Anne Whiston Spirn.
In her first museum exhibition in the United States, Irish artist Katie Holten joins the Contemporary Art Museum, St. Louis, as an artist-in-residence to create her largest and most ambitious work to date. The exhibition presents a new site-specific indoor installation comprised of sculpture, drawings and paintings and an outdoor performance that collectively explore global ecology and social gestures within moments of environmental crisis. Interested in our fragile ecology from an international perspective--while also considering local concerns--Holten's work is a relative, aesthetic proposition for community-friendly solutions. She renders nature essential, and in the process asks individuals and communities to ponder their natural environment, and to consider human fragility in an uncertain future. Holten collaborates with communities around the globe to raise awareness of environmental issues through a visual consideration of nature. Her exhibitions heighten a sense of urgency and action through beautifully rendered work that expresses the fragile ecology of local environments.
Published by Artspace Books. Contributions by Rebecca Solnit.
A meditation on the dilemmas and desires for home that combines the writings of art critic and cultural historian Rebecca Solnit with painter Stefan Kurten's lush images of domestic interiors, buildings and landscapes. Solnit reflects on emotional privatization, real-estate fetishism, and aesthetic pleasure, while Kurten's paintings of stale bourgeois interiors and suburban homes project a dogged attempt to make life perfect, at least on the surface. His armchairs, teapots and planter boxes suggest that we are living in a peculiar state of safety and bliss. Together, the text and images question the equation of ideal houses with ideal lives, the images that shape our perception of childhood, and our notion of a fulfilled adulthood.
Published by Aperture. Introduction by Rebecca Solnit. Afterword John McPhee.
For more than ten years Virginia Beahan and Laura McPhee have traveled the world--from Iceland to Costa Rica, Sri Lanka to New York --exploring the ways people interact with the landscapes in which they live. In Costa Rica, for example, healing waters are enshrined in frescoed concrete; in a Hawaiian garden, mangoes and oranges are protected against the cold in brown paper bag jackets; in Iceland, children play in hot springs created by the runoff of a power plant; in Las Vegas, an artificial volcano erupts on cue. Each of Beahan and McPhee's extraordinary images captures a point of collision between natural and constructed worlds.
In 1987, Laura McPhee and Virginia Beahan began their photographic work together using a large-format camera.
BOOK FORMAT Hardcover, 11.75 x 10.25 in. / 108 pgs / 73 reproductions throughout.
PUBLISHING STATUS Pub Date 6/15/2005 No longer our product
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PRODUCT DETAILS ISBN 9780893817336TRADE List Price: $39.95 CDN $50.00
Published by Aperture. Essays by John B. Rohrbach, Rebecca Solnit, and Jonathan Porter.
Eliot Porter: The Color of Wildness is the first in-depth retrospective of Porter's work. Over the course of his long career, Porter has photographed familiar landscapes, like the coast of Maine where he spent childhood summers, as well as well as strange, remote places like the Galapagos Islands. With the success of his Sierra Club publication In Wildness Is the Preservation of the World, Selections and Photographs by Eliot Porter (1962), Porter became an ambassador for environmental causes. His ecological interests led to a fascination with humanity's cultural roots. An essay by curator John Rohrbach addresses Porter's break with the classical techniques of the master Modernists Paul Strand and Ansel Adams. An essay by Porter's son Jonathan, who often accompanied his father on photographic expeditions, discusses Porter's lifelong love of the natural world, his working methods, and his interests outside of photography. Rebecca Solnit's essay positions Porter's work within the environmental movement and the political climate of the 1960s. “[Porter's images] ... are secure in the history of the medium and contribute to the highest standards and achievements of the art.” --Ansel Adams
BOOK FORMAT Hardcover, 10.25 x 13.5 in. / 152 pgs / 123 reproductions throughout.
PUBLISHING STATUS Pub Date 6/15/2005 No longer our product
DISTRIBUTION Contact Publisher
PRODUCT DETAILS ISBN 9780893819507TRADE List Price: $60.00 CDN $70.00
Los Alamos to Vietnam: Photoworks and Installations
Published by St. Ann's Press. Essays by Lucy Lippard, Rebecca Solnit, and James Crump. Introduction by Terry Tempest Williams.
Meridel Rubenstein mixes mediums and metaphors to make art about our tenuous connection to place. Originally trained as a photographer, she combines disparate materials such as earthy palladium prints with cold steel mounts, transparent photographic imagery sandblasted onto glass, video imagery projected onto cast glass, and digital still imagery on floating vellum and hand-coated tree bark papers. A sense of fragility, transparency, and passage in her works underscores a possibility for change. Her complex narrative photoworks and installations derive from a sense of place, personal and collective history, and myth--the landscape of the cultural mind. Nine intersecting bodies of work compose this book. The Lowriders is a series of color photographs of the customized cars owned by Latinos from northern New Mexico. Critical Mass is a collaborative work about the making of the first bomb at Los Alamos. The intersecting of the world of the Native American and the Nuclear Scientist is told through the story of one woman who they met. Oppenheimer's Chair is a meditation on nature and the shedding of defensive postures after 50 years of the cold war. Also included is a series that stems from Rubenstein's 1997 trip to Vietnam, where she commenced a body of work tracing the trajectories of uprooting and replanting in relation to the Vietnam War.
PUBLISHER St. Ann's Press
BOOK FORMAT Clothbound, 10.75 x 11.25 in. / 192 pgs / 140 color.
PUBLISHING STATUS Pub Date 11/2/2004 No longer our product
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2004
PRODUCT DETAILS ISBN 9780975330203TRADE List Price: $65.00 CDN $75.00
Published by Aspen Art Press. Text by Anne Carson, Courtenay Finn, Rebecca Solnit.
The Blue of Distance, published to accompany a group exhibition at the Aspen Art Museum, is a reflection on the color blue's uncanny relationship to absence, desire and distance. Featuring photography, drawing, sculpture and sound by the artists Vija Celmins, Jason Dodge, Félix González-Torres, Roni Horn, Marie Jager, Catherine Opie, Paul Ramirez Jonas, Cy Twombly and Cerith Wyn Evans, the publication explores the blue at the far edge of what can be seen, the color of the horizon, the ocean and the immaterial. Weaving together a larger narrative about the distance between us and the objects of our desire, the catalogue includes an essay by Courtenay Finn, an excerpt from Rebecca Solnit's A Field Guide to Getting Lost and a new piece by Anne Carson.
Published by Charta. Text by Katherine Petrin, Melinda Stone, Chi-hui Yang, Rebecca Solnit, Eddie Muller, D. Scott Miller, Liz Keim, Laura Horak, Sergio de la Mora, Elisabeth Houseman, Joshua Grannell, Sam Sharkey.
In our age of Netflix and streaming videos, movie attendance continues its long decline, and cinema-going is becoming ever less of the collective experience Walter Benjamin so memorably described. Throughout the city of San Francisco, however, many theaters built between 1910 and 1950 are still standing, and some even remain in operation, serving as poignant reminders of Hollywood's Golden Age and the social interactions that once came with movie-going. R.A. McBride's lush color photographs--made with film cameras, of course--showcase these temples to celluloid in all their threadbare grandeur. Photographed empty, the buildings' architectural qualities, from rotunda chandeliers and warmly glowing walls to drab lobbies and worn armrests, come to the fore. Essays by scholars and film exhibitors including Rebecca Solnit, Julie Lindow, Eddie Muller, Chi-Hui Yang and Gary Meyer cast light from personal and scholarly perspectives, examining the movie houses' roles as characters in the cultural drama of the city.
BOOK FORMAT Paperback, 10 x 8 in. / 168 pgs / 62 color.
PUBLISHING STATUS Pub Date 9/30/2010 No longer our product
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2010 p. 56
PRODUCT DETAILS ISBN 9788881587803TRADE List Price: $39.95 CDN $50.00