A pseudo-sequel to 'Blisner, Ill.', 'Blisner, IL' is a self-published photobook by Daniel Shea exploring processes of deindustrialisation in the Rust Belt of America. This volume also explores the industrial history and post-industrial fallout of the once prosperous Southern Illinois town, but also frames its predecessor, 'Blisner, Ill.', as a historical document from which to draw information at the present day site.
One hundred years ago, “October 1917” galvanized leftists and oppressed peoples around the globe, and became the lodestar for 20th century politics. Today, the left needs to reckon with this legacy—and transcend it. Social change, as it was understood in the 20th century, appears now to be as impossible as revolution, leaving the left to rethink the relationship between capitalist crises, as well as the conceptual tension between revolution and reform. Populated by an array of passionate thinkers and thoughtful activists, Rethinking Revolution reappraises the historical effects of the Russian revolution—positive and negative—on political, intellectual, and cultural life, and looks at consequent revolutions after 1917. Change needs to be understood in relation to the distinct trajectories of radical politics in different regions. But the main purpose of this Socialist Register edition—one century after “Red October”—is to look forward, to what might happen next. Acclaimed authors interrogate and explore compelling issues, including: • Greg Albo: New socialist strategies—or detours? • Jodi Dean: Are the multitudes communing? Revolutionary agency and political forms today. • Adolph Reed: Are racial minorities revolutionary agents? • Zillah Eisenstein: Revolutionary feminisms today. • Nina Power: Accelerated technology, decelerated revolution. • David Schwartzman: Beyond global warming: Is solar communism possible? • Andrea Malm: Revolution and counter-revolution in an era of climate change.
In collaboration with Charlotte Cotton and the International Center of Photography, Mossless' new book focuses on portraiture that revolves around public and private themes.
Chromatic Reflection is an artist monograph by Los Angeles based sculptor and photographer Aaron Farley.Unearthing a long neglected series of medium format negatives whilst exploring downtown St Louis' Queen Of Lace, Continental-Life Building, Farley salvaged such, archiving these until July of 2016, and Chromatic Reflection's genesis. Encompassing negatives created by a professional photographic studio once housed within the Queen Of Lace, circa 1960, Chromatic Reflection saw Farley photograph these abandoned negatives, then infuse such throughout with brilliant colour field, enigmatic dimensionality, and contemplative distortion. Authoring engaging chromatic works of parallel chronology, halted ephemerality, the substantiation of time's abstraction, Farley's work explores that paradoxical endeavour of restructuring chronology through captured image, substituted continuum, and material memory.
Larry Sultan and Mike Mandel began working collaboratively together in 1973 while graduate students at the San Francisco Art Institute. They work together on occasional projects that include artists' books, exhibitions and public art.
Public, Private, Secret explores the roles that photography and video play in the crafting of identity, and the reconfiguration of social conventions that define our public and private selves. This collection of essays, interviews, and reflections assesses how our image-making and consumption patterns are embedded and implicated in a wider matrix of online behavior and social codes, which in turn give images a life of their own. Within this context, our visual creations and online activities blur and remove conventional separations between public and private (and sometimes secret) expression. The writings address the various disruptions, resistances, and subversions that artists propose to the limited versions of race, gender, sexuality, and autonomy that populate mainstream popular culture. They anticipate a future for our image-world rich with diversity and alterity, one that can be shaped and influenced by the agency of self-representation.
Redheaded Peckerwood is Christian Patterson's second book; a body of photographs, documents and objects that utilizes the underlying narrative of a true crime story as a spine.
"[Richard Misrach] saw the border, [Guillermo Galindo] heard it, and by coming together across that line of artistic practice, they've now created these 'border cantos.' Misrach has been using the canto literary structure, borrowed from Dante and Ezra Pound, as a way of organizing his long-term photographic project, Desert cantos (1979 to present). But here the canto also moves off the page and into sound, opening up into Galindo's practice. In Italian, canto means 'song'; in Spanish, 'singing' and 'chant.' In this sense, all cantos are part eye and part ear, able to bee seen and heard at once."--Page 10.
