The Unraveling of Michelle DuBois, aka *Alice Johnson* (Fall 2011) Published by Aperture Ideas. Self-Reflexive & Errant Hairs,with an introduction by Eleanor Kaufman & essay by Andrew Berardini.8 × 10 inches,240 pages, 220 four-color imagesThe Unraveling of Michelle duBois aka “Alice Johnson” is a print-on-demand artist book. It is the second in a four-volume set by the artist Zoe Crosher.Zoe Crosher’s The Archives of Michelle duBois, Vols. 1-4 is a reconsidered archive culled from crates, boxes, and albums consisting of endless flirtatious smiles, tourist shots, cheesecake mementos, and suggestive poses, in every film type and size.Identical in structure, each volume offers an alternate perspective on the archive of Michelle duBois, an enigmatic collection of images bequeathed to the artist by the subject and compiler. In each subsequent volume, Crosher configures a new set of identities and meanings for this ephemeral archive of photographic detritus, through a selection of unique sets of images, reinterpretations of photos seen in previous volumes, as well as new texts.
Volume 1: The Reconsidered Archive of Michelle DuBois, aka *Kathy* (Spring 2011) Published by Aperture Ideas.Autoportrait & Companions,with an introduction by Eleanor Kaufman & essay by Karsten Lund.8 × 10 inches, 240 pages.The Reconsidered Archive of Michelle duBois is a print-on-demand artist book. It is the first in a four-volume set by the artist Zoe Crosher. These artist books are part of Aperture Ideas: Writers and Artists on Photography, a series devoted to the finest critical and creative minds exploring key concepts in photography, including new technologies of production and dissemination.Identical in structure, each volume offers an alternate perspective on the archive of Michelle duBois, an enigmatic collection of images bequeathed to the artist by the subject and compiler. In each subsequent volume, Crosher configures a new set of identities and meanings for this ephemeral archive of photographic detritus through a selection of unique sets of images, reinterpretations of photos seen in previous volumes, as well as new texts.Zoe Crosher’s The Unraveling of Michelle duBois is a reconsidered archive culled from crates, boxes and albums consisting of endless flirtatious smiles, tourist shots, cheesecake mementos and suggestive poses in every film type and size. The Reconsidered Archive of Michelle duBois was featured in Aperture magazine, issue 198.
The Unveiling of Michelle duBois, aka *Cricket* (Spring 2012) Published by Aperture Ideas.Asianesque & Collecting,with an introduction by Jan Tumlir & essay by Catherine G. Wagley.8 X 10 inches,240 pages, 220 four-color images.The Unraveling of Michelle duBois aka “Alice Johnson” is a print-on-demand artist book. It is the third in a four-volume set by the artist Zoe Crosher.Zoe Crosher’s The Archives of Michelle duBois, Vols. 1-4 is a reconsidered archive culled from crates, boxes, and albums consisting of endless flirtatious smiles, tourist shots, cheesecake mementos, and suggestive poses, in every film type and size.Identical in structure, each volume offers an alternate perspective on the archive of Michelle duBois, an enigmatic collection of images bequeathed to the artist by the subject and compiler. In each subsequent volume, Crosher configures a new set of identities and meanings for this ephemeral archive of photographic detritus, through a selection of unique sets of images, reinterpretations of photos seen in previous volumes, as well as new texts.
The second edition of Why Art Photography? is an updated, expanded introduction to the ideas behind today’s striking photographic images. Lively, accessible discussions of key issues such as ambiguity, objectivity, fiction, authenticity, and photography’s expanding field are supplemented with new material around timely topics such as globalization, selfie culture, and photographers’ use of advanced digital technologies, including CGI and virtual reality. The new edition includes: an expanded introduction extended chapters featuring emerging trends a larger selection of images, including new color images an improved and expanded bibliography This new edition is essential for students looking to enrich their understanding of photography as a complex and multi-faceted art form.
The Disappearance of Michele DuBois, aka *Mitchi* (Fall 2012) Published by Aperture Ideas.Almost The Same & Obfuscated,with an introduction by Christine Y. Kim & essay by Lucas Blalock.8 × 10 inches,240 pages, 208 four-color images.The Disappearance of Michelle duBois is a print-on-demand artist’s book. It is the fourth volume in a four-volume set by the artist Zoe Crosher. This volume is part of Aperture Ideas: Writers and Artists on Photography, a series devoted to the finest critical and creative minds exploring key concepts in photography, including new technologies of production and dissemination.Identical in structure, each volume offers an alternate perspective on the archive of Michelle duBois, an enigmatic collection of images bequeathed to the artist by the subject and compiler. In each subsequent volume, Crosher configures a new set of identities and meanings for this ephemeral archive of photographic detritus through a selection of unique sets of images, reinterpretations of photos seen in previous volumes, as well as new texts.Zoe Crosher’s The Disappearance of Michelle duBois is a reconsidered archive culled from crates, boxes and albums consisting of endless flirtatious smiles, tourist shots, cheesecake mementos and suggestive poses in every film type and size.
For every athlete or sports fanatic who knows she's just as good as the guys. This is for fans of The Running Dream by Wendelin Van Draanen, Grace, Gold, and Glory by Gabrielle Douglass and Breakaway: Beyond the Goal by Alex Morgan. The summer before Caleb and Tessa enter high school, friendship has blossomed into a relationship . . . and their playful sports days are coming to an end. Caleb is getting ready to try out for the football team, and Tessa is training for cross-country. But all their structured plans derail in the final flag game when they lose. Tessa doesn’t want to end her career as a loser. She really enjoys playing, and if she’s being honest, she likes it even more than running cross-country. So what if she decided to play football instead? What would happen between her and Caleb? Or between her two best friends, who are counting on her to try out for cross-country with them? And will her parents be upset that she’s decided to take her hobby to the next level? This summer Caleb and Tessa figure out just what it means to be a boyfriend, girlfriend, teammate, best friend, and someone worth cheering for. “A great next choice for readers who have enjoyed Catherine Gilbert Murdock’s Dairy Queen and Miranda Kenneally’s Catching Jordan.”—SLJ “Fast-paced football action, realistic family drama, and sweet romance…[will have] readers looking for girl-powered sports stories…find[ing] plenty to like.”—Booklist “Tessa's ferocious competitiveness is appealing.”—Kirkus Reviews “[The Football Girl] serve[s] to illuminate the appropriately complicated emotions both of a young romance and of pursuing a dream. Heldring writes with insight and restraint.”—The Horn Book
A USA TODAY BESTSELLER! "A powerful debut that proves the threads that interweave our lives can withstand time and any tide, and bind our hearts forever."—Susanna Kearsley, New York Times bestselling author of Belleweather and The Vanished Days A historical novel inspired by true events, Kelli Estes's brilliant and atmospheric debut is a poignant tale of two women determined to do the right thing, highlighting the power of our own stories. The smallest items can hold centuries of secrets... While exploring her aunt's island estate, Inara Erickson is captivated by an elaborately stitched piece of fabric hidden in the house. The truth behind the silk sleeve dated back to 1886, when Mei Lien, the lone survivor of a cruel purge of the Chinese in Seattle found refuge on Orcas Island and shared her tragic experience by embroidering it. As Inara peels back layer upon layer of the centuries of secrets the sleeve holds, her life becomes interwoven with that of Mei Lein. Through the stories Mei Lein tells in silk, Inara uncovers a tragic truth that will shake her family to its core—and force her to make an impossible choice. Should she bring shame to her family and risk everything by telling the truth, or tell no one and dishonor Mei Lien's memory? A touching and tender book for fans of Marie Benedict, Susanna Kearsley, and Duncan Jepson, The Girl Who Wrote in Silk is a dual-time period novel that explores how a delicate piece of silk interweaves the past and the present, reminding us that today's actions have far reaching implications. Praise for The Girl Who Wrote in Silk: "A beautiful, elegiac novel, as finely and delicately woven as the title suggests. Kelli Estes spins a spellbinding tale that illuminates the past in all its brutality and beauty, and the humanity that binds us all together." —Susan Wiggs, New York Times bestselling author of The Beekeeper's Ball "A touching and tender story about discovering the past to bring peace to the present." —Duncan Jepson, author of All the Flowers in Shanghai "Vibrant and tragic, The Girl Who Wrote in Silk explores a horrific, little-known era in our nation's history. Estes sensitively alternates between Mei Lien, a young Chinese-American girl who lived in the late 1800s, and Inara, a modern recent college grad who sets Mei Lien's story free." —Margaret Dilloway, author of How to Be an American Housewife and Sisters of Heart and Snow
Now streaming on Netflix and BBC iPlayer! The Breakfast Club meets Pretty Little Liars in Gretchen McNeil's sharp and thrilling sequel to Get Even. Perfect for fans of E. Lockhart, Karen M. McManus, and Maureen Johnson. The members of Don't Get Mad aren't just mad anymore . . . they're afraid. And with Margot in a coma and Bree under house arrest, it's up to Olivia and Kitty to try to catch their deadly tormentor. But just as the girls are about to go on the offensive, Ed the Head reveals a shocking secret that turns all their theories upside down. The killer could be anyone, and this time he—or she—is out for more than just revenge. The girls desperately try to discover the killer's identity as their own lives are falling apart: Donté is pulling away from Kitty and seems to be hiding a secret of his own, Bree is sequestered under the watchful eye of her mom’s bodyguard, and Olivia's mother is on an emotional downward spiral. The killer is closing in, the threats are becoming more personal, and when the police refuse to listen, the girls have no choice but to confront their anonymous “friend” . . . or die trying.
Artists as voyagers who leave their studios to make art, including Nancy Holt, Vito Acconci, Sophie Calle, and Richard Long. Wanderlust highlights artists as voyagers who leave their studios to make art. This book (and the exhibition it accompanies) is the first comprehensive survey of the artist's need to roam and the work that emerges from this need. Wanderlust presents the work of under-recognized yet pioneering artists alongside their well-known counterparts, and represents works that vary in process, with some artists working as solitary figures implanting themselves physically on the landscape while others perform and create movements in a collaborative manner or in public. Many of the earlier works use what were at the time nontraditional methods of art making. In Trail Markers (1969), for example, Nancy Holt spent time in the English countryside, where she documented the painted orange trail markers she found dotting the landscape. Vito Acconci explored his body's “occupancy” of public space through the execution of preconceived actions or activities. In Following Piece (1969), Acconci followed one randomly chosen stranger through the streets of New York. A Line Made by Walking (1967), a black-and-white photograph of Richard Long's imprint of a straight line in a field, was Long's first walking art work, made on a journey to St Martin's from his home in Bristol. Ana Mendieta's influential Silueta Works in Mexico (1977) documents performances by the artist during her travel between Iowa and Mexico, in which she imprints her body on the landscape while addressing issues of displacement. Each of these works recognizes the walk and the journey as much more than just a basic human act. Rebecca Solnit observes that walking replicates thinking, adding “the motions of the mind cannot be traced, but those of the feet can.” These works trace the motions of wandering artists' focused minds. Artists Vito Acconci, Bas Jan Ader, Nevin Aladag, Francis Alÿs, Janine Antoni, John Baldessari, Kim Beck, Roberley Bell, Blue Republic, Sophie Calle, Rosemarie Castoro, Cardiff/Miller, Zoe Crosher, Fallen Fruit, Mona Hatoum, Nancy Holt, Kenneth Josephson, William Lamson, Richard Long, Marie Lorenz, Mary Mattingly, Anthony McCall, Ana Mendieta, Teresa Murak, Wangechi Mutu, Efrat Natan, Gabriel Orozco, Carmen Papalia, John Pfahl, Pope.L, Teri Rueb, Michael X. Ryan, Todd Shalom, Mary Ellen Strom, and Guido van der Werve. Contributors Rachel Adams, Lucy Ainsworth, Andrew Barron, Pamela Campanaro, Andy Campbell, Hannah Cattarin, Ian Cofre, Jamie DiSarno, Katherine Finerty, Joshua Fischer, Natalie Fleming, Melanie Flood, Jason Foumberg, Allison Glenn, Kate Green, Ross Stanton Jordan, Anna Kaplan, Jamilee Lacy, Jennie Lamensdorf, Toby Lawrence, Jane McFadden, Lynnette Miranda, Conor Moynihan, Liz Munsell, Karen Patterson, Ariel Lauren Pittman, Sean Ripple, Eve Schillo, Holly Shen, Rebecca Solnit, Lexi Lee Sullivan, Whitney Tassie, Charlie Tatum, Zoë Taleporos, Lori Waxman
Now in its first American edition, Dionne Brand’s groundbreaking A Map to the Door of No Return has emerged as a modern classic, a highly influential exploration of “being” in the Black Diaspora. Since its first publication in 2001, Dionne Brand’s groundbreaking exploration of being in the Black Diaspora, A Map to the Door of No Return, has emerged as a modern classic. The door, in Brand’s iconic schema, represents the point of rupture where the ancestors of the Black Diaspora departed one world for another: the place where all names were forgotten, and all beginnings recast. “This door,” writes Brand, “is not mere physicality. It is a spiritual location . . . Since leaving was never voluntary, return was, and still may be, an intention, however deeply buried. There is as it says no way in; no return.” Through shards of history, memoir, lyrical investigation, and the unwritten experience of so many descendants of those who passed through the door, Brand constructs a map of this indelible region, culminating in an enduring expression, both definitive and seeking, of what it is to live, think, and create in the wake of colonization. With a new preface by the author, and an afterword by Saidiya Hartman.
