Böcker av Cay Sophie Rabinowitz

New writings from Stephanie Snyder, Kate Fowle, Geoffrey Batchen and more on photo cultures past and presentThe latest issue of OSMOS features a cover by Catherine DeLattre; an essay by contributing editor Tom McDonough on artist Alfredo Jaar; Stephanie Synder on photographer Liza Ryan; Christian Rattemeyer on Zagreb-based conceptual artist David Maljkovic; an essay by Kate Fowle on Sherrill Roland; a portfolio by artist Roscoe Thicke; Maria Ines Plaza Lazo on Berlin-based performance and video artist Leila Hekmat; an essay by writer Geoffrey Batchen on A New Power: Photography and Britain 1800-1850 at the Bodleian Library, Oxford; a feature by Christian Oldham on renowned avant-garde Ikebana master Kosen Ohtsubo; and a text by Tim Walsh on the previous issue's cover artist James Barth, whose self-portraits use avatars as a means to explore their transgendered identity and representation. Through painting and 3D modeling, Barth's works combine photography, painting, science fiction, cinematic language and poetic gestures.

Essays and meditations on iPhone photography, artist residencies, mortality and more from the acclaimed New England photographer and educatorA memoir and meditation on the history of photography from one of New England's most respected photographers, Rose Marasco (born 1948), this volume features short personal writings on topics ranging from artist residencies and iPhone photography to the early death of her father and includes selections from several bodies of work across Marasco's long career. Lucy Lippard's foreword situates Marasco as a key feminist voice among practitioners of vernacular photography. Marasco is now a widely exhibited photographer with works in many museum collections, who has also spent decades as a beloved and highly regarded teacher of photography. Her keen eye and generous voice offer an important perspective on how photography can shape a lifetime.

Early 1900s street photography from London, documentation of Covid structures and more in the new OSMOSThe latest issue of OSMOS Magazine features a cover by James Barth; an essay by contributing editor Tom McDonough; John Menick on Camel Collective; Christian Rattemeyer on Santiago de Paoli; a story on Patrick Killoran's documentation of Covid structures; Edward Lindley Sambourne's early 1900s London street photography; and a very special feature with Aboriginal Australian conceptual artist and activist Richard Bell about his work for Documenta 15. Founder and editor of OSMOS Magazine Cay Sophie Rabinowitz describes the publication as "an art magazine about the use and abuse of photography." OSMOS Magazine is the only periodical publication in the market combining curatorial and art-historical perspectives with portfolios, photo narratives and reportage.

Essays on Ellie Ga, Joanna Piotrowska, Walter Pfeiffer, Steve Reinke, Anna Papier and more, in the latest issue of OsmosAs founder and editor Cay Sophie Rabinowitz (formerly of Parkett and Fantom) explains, Osmos Magazine is "an art magazine about the use and abuse of photography." The magazine is divided into thematic sections--some traditional, and others more idiosyncratic. Osmos Magazine issue 19 features Oliver Chanarin in conversation with Rafal Milach about the Magnum photographer's book In Nearly Every Rose ..., plus essays by Tom McDonough on Ellie Ga; Lucy Gallun on Joanna Piotrowska; Walter Pfeiffer introduced by Swiss Institute curator Daniel Merritt; Kenta Murakami on Steve Reinke's The Hundred Videos; Anna Papier on the Dutch photographer Bart Julius Peters; Christian Rattemeyer on Levan Mindiashvili; Drew Sawyer on Erin Jane Nelson; Ksenia Nouril on Rafael Soldi; and Leon Dish Becker's reportage, ESL Political Clickbait, on memes designed by YouTubers infiltrating and promoting paranoia.

Internationally renowned artist and self-described "still-life photographer" Eileen Quinlan (born 1972) uses medium- and large-format analog cameras to create abstract photographs, working the film with steel wool or lengthy chemical processing. Among the subjects of her photographs are smoke, mirrors, Mylar, colored lights and other photographs. Featuring color reproductions and in-depth critical essays by Mark Godfrey and Tom McDonough, this book surveys Quinlan's use of Polaroid film from 2006 to 2017. Initially used as a tool for proofing, Quinlan's Polaroids can be seen as sketches, moments in which crucial formal and conceptual questions were explored and worked out. Moving through her extensive archive, one can find the origins of almost every larger body of work, as well as many ideas that remained in the repository, evidencing the artist's desire to push beyond the constraints of her apparatus.