{"title":"Radius Books","description":null,"products":[{"product_id":"9781942185819","title":"Jim Isermann: Works 1980–2020","description":"\u003cp\u003e\u003cstrong\u003eFrom functional installations to discrete objects, Jim Isermann has chronicled the conflation of postwar industrial design and fine art through popular culture\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003eA comprehensive monograph spanning the 40-year career of Palm Springs–based artist Jim Isermann (born 1955), this title shows the artist’s first 20 years of extensive, chronological research of postwar art and design filtered through popular culture and consumerism, followed by 20 years of site-specific public projects and a studio practice of labor-intensive painting, sculpture and the occasional product design project.\u003cbr\u003e\u003cbr\u003eIn 1980, there were no guidebooks to California design or what we now call Midcentury Modern. 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The highly reflective surfaces of Danh’s daguerreotypes literally mirror their surroundings, embracing viewers within the idyllic environs of national sites and landmarks. 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Finding insight and inspiration in the seeming monotony of her “generic American hometown” of Springfield, Missouri, Blackmon constructs a captivating, fictitious world that is both playful and menacing. “I think of myself as a visual artist working in the medium of photography,” Blackmon notes, “and my assignment is to chart the fever dreams of American life.” \u003ci\u003eMidwest Materials\u003c\/i\u003e follows \u003ci\u003eDomestic Vacations\u003c\/i\u003e (Radius Books, 2008) and \u003ci\u003eHomegrown\u003c\/i\u003e (Radius Books, 2014).\u003cbr\u003e\u003cb\u003eJulie Blackmon\u003c\/b\u003e (born 1966) pursued studies in art education and photography at Missouri State University. 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Monumental black-and-white photographs are transformed through Neshat's use of Farsi text and images that have been hand-drawn onto the picture. The texts represent Neshat's interpretation of the dreams of the sitter, with references to ancient myths and ideologies. Neshat works and experiments with photography, video and film, imbuing them with highly poetic and politically charged images and narratives that question issues of power, religion, race, gender and the relationship between the past and present, occident and orient, individual and collective through the lens of her personal experiences as an Iranian woman living in exile.\u003c\/p\u003e","brand":"Gardners","offers":[{"title":"Default Title","offer_id":56309901754741,"sku":"9781955161091","price":42.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0612\/7193\/3106\/files\/9781955161091_7e4119bd-b8ea-403b-b07e-0e12a014238f.jpg?v=1786030484"},{"product_id":"9798890180872","title":"Tomas Van Houtryve: 36 Views of Notre Dame","description":"\u003cb\u003eSpecial insider access to the rebuilding process at Notre Dame after the 2019 fire, shot with a historic wet-plate collodion photographic process. \u003c\/b\u003e\u003cp\u003eIn \u003ci\u003eTomas van Houtryve: 36 Views of Notre Dame\u003c\/i\u003e, the viewer accompanies the artist on his fourteen-year journey photographing the Paris icon before and after the fire. 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In the 1960s, Zulu night watchmen started weaving scraps of this wire around their traditional sticks. The practice became popular among Zulu communities, and today, there is great innovation and creativity in the use of this medium. Artists have produced goods ranging from soft wire bowls and plates to glass bottle covers, tea sets, isikhetho (beer strainers), and pots, all created in a wide variety of colors and complex patterns.\u003c\/p\u003e\u003cp\u003eThe first major exhibition showcasing the spectacular art of telephone-wire weaving in any North American museum opens at the Museum of International Folk Art in NYC on November 17, 2024.  \u003ci\u003eiNgqikithi yokuPhica \/ Weaving Meanings: Telephone Wire Art from South Africa\u003c\/i\u003e was developed in consultation with artists, community members, and other experts with deep connections to wire-weaving communities in KwaZulu-Natal, South Africa. 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He works slowly, visiting a place repeatedly to gain a greater understanding of it, to ultimately deliver a thoughtful and profound interpretation.\u003cbr\u003eThis project was inspired by Dougherty’s and Florio’s connection to Tippet Rise Art Center in Fishtail, Montana, where Dougherty has crafted sculptures from local willows, and where Florio has photographed the art and wild lands over many years.\u003cbr\u003eDougherty’s first commission at Tippet Rise, \u003ci\u003eDaydreams\u003c\/i\u003e, was completed in 2015. He subsequently returned to the art center in 2022 to make a companion piece for this work. At the heart of both pieces is a nineteenth-century schoolhouse reproduction. 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