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Freedman Benjamin: Positive Illusions

Positive Illusions

The first monograph in over 70 years on the celebrated female protagonist of Dutch floral paintingAt the end of the 17th century and beginning of the 18th, Rachel Ruysch was celebrated across Europe for her sumptuous floral still lifes, admired both for their artistry and for their accurate depictions of flowers, fruit and insects. Often placed on stone ledges and against dark backgrounds, her sumptuous bouquets seem to spill over with all manner of colorful flowers and plants, as bees and butterflies flit to and from their petals. Ruysch's star faded after the close of the Dutch Golden Age, but late 20th- and early 21st-century interest in women artists has returned her to the forefront of the art historical canon. Nature into Art introduces today's audiences to Ruysch's achievements while also exploring the pioneering role of women artists and scientists in the Dutch Republic in the 17th and 18th centuries. Brilliantly illustrated with detailed reproductions of Ruysch's intricate paintings, the essays touch upon Ruysch's career and her immediate legacy while also widening their scope to consider the role of botany in the early modern era and the storied tradition of botanical illustration. The catalog also includes an index of the various flora and fauna depicted within Ruysch's work, which feature both native and nonnative species. Rachel Ruysch (1664-1750) produced hundreds of the floral still lifes for which she is best known. She was an apprentice in the studio of Willem van Aelst and the daughter of famed scientist Frederick Ruysch, meaning she had access to a wider world of Dutch flower painters and botanists. From 1708 until 1716 she served as court painter to Johann Wilhelm, Elector Palatine.

The first monograph in over 70 years on the celebrated female protagonist of Dutch floral paintingAt the end of the 17th century and beginning of the 18th, Rachel Ruysch was celebrated across Europe for her sumptuous floral still lifes, admired both for their artistry and for their accurate depictions of flowers, fruit and insects. Often placed on stone ledges and against dark backgrounds, her sumptuous bouquets seem to spill over with all manner of colorful flowers and plants, as bees and butterflies flit to and from their petals. Ruysch’s star faded after the close of the Dutch Golden Age, but late 20th- and early 21st-century interest in women artists has returned her to the forefront of the art historical canon. Nature into Art introduces today’s audiences to Ruysch’s achievements while also exploring the pioneering role of women artists and scientists in the Dutch Republic in the 17th and 18th centuries. Brilliantly illustrated with detailed reproductions of Ruysch’s intricate paintings, the essays touch upon Ruysch’s career and her immediate legacy while also widening their scope to consider the role of botany in the early modern era and the storied tradition of botanical illustration. The catalog also includes an index of the various flora and fauna depicted within Ruysch’s work, which feature both native and nonnative species. Rachel Ruysch (1664–1750) produced hundreds of the floral still lifes for which she is best known. She was an apprentice in the studio of Willem van Aelst and the daughter of famed scientist Frederick Ruysch, meaning she had access to a wider world of Dutch flower painters and botanists. From 1708 until 1716 she served as court painter to Johann Wilhelm, Elector Palatine.

Rachel Ruysch: Nature into Art

The first major biography on artist Louise Bourgeois brings the life and work of an iconic twentieth-century artist into sharp focus &nbsp; Louise Bourgeois (1911–2010) was one of the most important artists of the twentieth century. She is known for a body of work that spans sculpture, painting, and printmaking but eludes any aesthetic classification. Her life and art were so intertwined that it is often difficult to tell them apart. In her own words: “Sculpture is the body. My body is the sculpture.” &nbsp; Marie-Laure Bernadac’s biography of Bourgeois traces the career of a great artist, her training, and her influences, as it tells the story of an exceptional woman’s life. Featuring personal photographs as well as reproductions of her work, this landmark publication is the first major biography to draw on the artist’s unpublished personal archives, including diaries, correspondence, and psychoanalytic writings, as well as the many interviews she gave and the reminiscences of those who knew her. Bernadac elucidates Bourgeois’s friendships and rivalries with other major figures, including sculptor Louise Nevelson and Museum of Modern Art director Alfred H. Barr Jr. She also draws on Bourgeois’s well-known fascination with psychoanalysis to explore the deeply autobiographical nature of her artwork. This erudite and keenly insightful biography pays tribute to the talent of the artist and the complexity of the person.

The Life of Louise Bourgeois

Knife-Woman

Raw, personal and political, John Scott: Firestorm presents an artist's searing critique of modernity’s capacity for industrial warfare and the machines that enable it. John Scott (1949–2022) produced paintings, drawings, and sculptures of what he called "engines of history," the hyper-masculine military and civilian weapons of the past half-century. Surveillance aircraft, B-52 and stealth bombers, tanks, cruise missiles and rockets, as well as handguns, muscle cars, and motorcycles forcefully imprint themselves upon the viewer through Scott's fierce mark-making and large, rough sculptural gestures. Humanoid rabbits—often surrounded by numbers that fail to add up—represent those threatened by such technologies. The dichotomy between the death-dealing weaponry of the nuclear era and the vulnerability of human beings lies at the core of Scott's work. Scott deployed an idiosyncratic graphic language to represent apocalyptic machines and power imbalances, working in the tradition of Francisco Goya, Käthe Kollwitz, Nancy Spero, and others. Scott grew up in Windsor, Ontario, across the river from Detroit, Michigan. Like many Canadian artists, writers, and intellectuals of his time, Scott was a close watcher of America, with a front-row seat on a sometimes rogue nation. Stylistically, his work is close to that of his contemporaries Jean-Michel Basquiat and William Kentridge, showing a kindred ferocity of mark-making and dark urgency. John Scott: Firestorm accompanies the exhibition of the same name organized by the McMichael Canadian Art Collection, curated by Canadian art scholar John O'Brian. It is the first major exhibition of Scott's work to focus on his imagery of machines and modernity's capacity for industrial war—a body of work as meaningful today as it was when it first appeared in the 1970s. This publication features over 100 of Scott's works, a detailed biography, and new critical writings on the artist.

Firestorm

John Scott

Aperture Ideas

The first English-language volume of Takuma Nakahira's influential writings on photography. Takuma Nakahira was a crucial figure within the history of Japanese photography, best known outside of Japan as a founding member of Provoke, the experimental magazine of photographs, essays, and poetry, first published in Tokyo in 1968. Through Provoke, Nakahira deepened his artistic and personal connection to Daido Moriyama, with whom he developed a signature style of harsh and grainy black-and-white photography. He would eventually break with this style, and over the course of his decades-long career, maintain an experimental approach to photography. And yet, beyond his photographic practice, Nakahira was also a committed critic, writing on a range of topics hardly limited to photography: art, film, journalism, radical politics, television, and jazz. As a whole, the essays offer insight into the evolution of Nakahira's thinking. As the curator Matthew S. Witkovsky notes, "Nakahira's incisive writing cut apart standing views in literature, film, politics, and especially photography, and he published both articles and photographs at a feverish rate."

Selected writings by Takuma Nakahira

Takuma Nakahira: At the Limits of the Gaze

Chris Orr, the well known British painter and printmaker, takes us on a tour of his prodigious and penetrating vision of the world over the last twelve years.

Seeing Ways

Chris Orr

Using timeless imagery of powerful women, sprawling country and scenes of magical surrealism that evoke not-so-distant times and places, Andrea Kowch has risen to be one of the leading figurative realists working today. The Michigan artist is a powerhouse of a painter who is comfortable working large and with complex compositions, and yet her work is also delicate, sensitive and willing to carefully embrace her audience with empathy and compassion. Here in these pages, viewers can step into Kowch's world to meet her strong-willed subjects, live in her gorgeous settings and explore her powerful themes of love, womanhood, strength and independence.

The Art of Andrea Kowch

Across a Rural Skyline

Francis Bacon Studies

The fifth volume in the acclaimed Francis Bacon Studies series, published under the aegis of The Estate of Francis Bacon.

Francis Bacon Retrieved - Lost Words / New Writing

Isms

The description for this book, Lennon-isms, will be forthcoming.

The description for this book, Lennon-isms, will be forthcoming.

Lennon-isms

Masterpieces of Art

Paul Nash, the British landscape and Surrealist painter, lived through both the First and Second World Wars. His depictions of these human catastrophes, with their damaged landscapes and broken machinery are much remembered today. This new book offers 100 powerful images, with an introduction to his life and art.

Paul Nash Masterpieces of Art

A reprint of the sold-out 2007 first edition with a new introduction, Mapping Water embraces uncharted artistic terrains.&nbsp;Tuwaletstiwa writes, “In this vast desert, a thin membrane separates the daily world and the world of spirit. This elemental landscape holds a deep reservoir of the unconscious, continually reminding me of the fragility and tenacity of life. Whether writing, painting, working with fiber, sand, or glass, I seek to embody the elusive images that emanate from the unconscious.”The first section in Mapping Water explores the etymology of the word “genesis” alongside paintings that relate (and don’t relate) to parts of the text, evoking thoughts on the “genesis” of ideas. Subsequent sections continue this exploration with content that varies from the deconstruction of an iconic Holocaust photograph to the construction of a series using feathers and bones to honor the spirit of a dead crow.

A reprint of the sold-out 2007 first edition with a new introduction, Mapping Water embraces uncharted artistic terrains.&nbsp;Tuwaletstiwa writes, “In this vast desert, a thin membrane separates the daily world and the world of spirit. This elemental landscape holds a deep reservoir of the unconscious, continually reminding me of the fragility and tenacity of life. Whether writing, painting, working with fiber, sand, or glass, I seek to embody the elusive images that emanate from the unconscious.”The first section in Mapping Water explores the etymology of the word “genesis” alongside paintings that relate (and don’t relate) to parts of the text, evoking thoughts on the “genesis” of ideas. Subsequent sections continue this exploration with content that varies from the deconstruction of an iconic Holocaust photograph to the construction of a series using feathers and bones to honor the spirit of a dead crow.

Judy Tuwaletstiwa: Mapping Water (Reprint)

'It seems that making art is chasing after an elusive dream of perfection that sits somewhere in my head. It will not go away, even after fifty years of trying. After all this time the process of holding materials, rubbing, crushing, cradling or just placing them violently or tenderly, is what it's about. Every action is a stream of discovery of something that hasn't existed before - it's a miracle and a bloody disaster. And so every sculpture leads to the next piece in the great puzzle. Much of this work is initiated in the subconscious. The different processes connect me with something physical or metaphysical that needs to be understood. In this way I discovered and dealt with past trauma. Things that didn't make sense but once transposed into clay became obvious. In this way personal experiences were opened out into universal experiences.'

Almuth Tebbenhoff

Her second monograph with Radius, Victoria Sambunaris: Transformation of a Landscape shares the nuance and majesty of the artist’s practice in a large-scale book format.Based in New York, Victoria Sambunaris structures her life around a photographic journey traversing the American landscape for several months per year. Equipped with a 5×7-inch field camera, a video camera, and research material, she crosses the country alone tenting on top of her car. Her project-based photographs document the continuing transformation of the American landscape with specific attention given to expanding political, technological, and industrial interventions.Part of her ongoing, twenty-four-year series “Taxonomy of a Landscape,” this book encompasses the past decade of work, including collected ephemera that form the essential and incidental elements of her practice as a photographer and researcher. Also featured are archival documentation of experiences and observations on the road, such as snapshots, maps, road logs, journals, geology and history books, mineral specimens, and artifacts. The work of Victoria Sambunaris is held in numerous public collections across the United States, including the Denver Art Museum (CO), Los Angeles County Museum of Art (CA), Art Institute of Chicago (IL), International Center of Photography (NY), Center for Creative Photography (AZ), Buffalo AKG Museum (NY), San Francisco Museum of Modern Art (CA), Museum of Modern Art (NY), National Museum of Women in the Arts (DC), Brigham Young University Museum of Art (UT), Virginia Museum of Fine Arts (VA), Museum of Fine Arts Houston (TX), Nelson-Atkins Museum (MO), and National Gallery of Art (DC).

Her second monograph with Radius, Victoria Sambunaris: Transformation of a Landscape shares the nuance and majesty of the artist’s practice in a large-scale book format.Based in New York, Victoria Sambunaris structures her life around a photographic journey traversing the American landscape for several months per year. Equipped with a 5×7-inch field camera, a video camera, and research material, she crosses the country alone tenting on top of her car. Her project-based photographs document the continuing transformation of the American landscape with specific attention given to expanding political, technological, and industrial interventions.Part of her ongoing, twenty-four-year series “Taxonomy of a Landscape,” this book encompasses the past decade of work, including collected ephemera that form the essential and incidental elements of her practice as a photographer and researcher. Also featured are archival documentation of experiences and observations on the road, such as snapshots, maps, road logs, journals, geology and history books, mineral specimens, and artifacts.

Victoria Sambunaris: Transformation of a Landscape

Positive Illusions

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