Podcasts about Radius Books

In this episode, artists Meghann Riepenhoff and Penelope Umbrico chat with MoCP curator, Kristin Taylor. The two artists discuss their backgrounds and shared interests in experimenting and pushing the indexical qualities of photography, as well as the work of Alison Rossiter and Joanne Leonard.Meghann Riepenhoff is most well-known for her largescale cyanotype prints that she creates by collaborating with ocean waves, rain, ice, snow, and coastal shores. She places sheets of light-sensitized paper in these water elements, allowing nature to act as the composer of what we eventually see on the paper. As the wind driven waves crash or the ice melts, dripping across the surface of the coated paper, bits of earth sediment like sand and gravel also become inscribed on the surface. The sun is the final collaborator, with its UV rays developing the prints and reacting with the light sensitizing chemical on the paper to draw out the Prussian blue color. These camera-less works harness the light capturing properties of photographic processes, to translate, in her words, “the landscape, the sublime, time, and impermanence.” Rieppenhoff's work has been featured in exhibitions at the High Museum of Art, the Museum of Fine Arts Boston, the Denver Art Museum, the Portland Museum of Art, Crystal Bridges Museum of Art, among many others. Her work is held in the collections of the High Museum of Art, the Museum of Fine Arts Houston, Harvard Art Museum, Amon Carter Museum of American Art, and the San Francisco Museum of Modern Art. She has published two monographs: Littoral Drift + Ecotone and Ice with Radius Books and Yossi Milo Gallery. She was an artist in residence at the Banff Centre for the Arts and the John Michael Kohler Center for the Arts, was an Affiliate at the Headlands Center for the Arts, and was a 2018 Guggenheim Fellow.Penelope Umbrico examines the sheer volume and ubiquity of images in contemporary culture. She uses various forms of found imagery—from online picture sharing websites to photographs in books and mail order catalogs—and appropriates the pictures to construct large-scale installations. She states: "I take the sheer quantity of images online as a collective archive that represents us—a constantly changing auto-portrait." In the MoCP permanent collection is a piece titled 8,146,774 Suns From Flickr (Partial) 9/10/10. It is an assemblage of numerous pictures that she found on the then widely used image-sharing website, Flickr, by searching for one of its most popular search terms: sunset. She then cropped the found files and created her own 4x6 inch prints on a Kodak Easy Share printer. She clusters the prints into an enormous array to underscore the universal human attraction to capture the sun's essence. The title references the number of results she received from the search on the day she made the work: the first version of the piece created in 2007 produced 2,303,057 images while this version from only three years later in 2010 produced 8,146,774 images. Umbrico's work has been featured in exhibitions around the world, including MoMA PS1, NY; Museum of Modern Art, NY; MassMoCA, MA; San Francisco Museum of Modern Art, CA; Milwaukee Art Museum, WI; The Photographers' Gallery, London; Daegu Photography Biennale, Korea; Gallery of Modern Art, Brisbane Australia; among many others, and is represented in museum collections around the world. She has received numerous awards, including a Guggenheim Fellowship; Sharpe-Walentas Studio Grant; Smithsonian Artist Research Fellowship; New York Foundation of the Arts Fellowship; Anonymous Was a Woman Award. Her monographs have been published by Aperture NYC and RVB Books Paris. She is joining us today from her studio in Brooklyn, NY.

Episode No. 659 features artists Barbara Bosworth and the Haas Brothers. Two art museums are showing exhibitions of Bosworth's work: the Museum of Fine Arts, Boston is presenting "Barbara Bosworth: The Meadow" through December 1. The show features photographs of a meadow in Carlisle, Massachusetts and near the Concord River that Bosworth made over 15 years, pictures that investigate time, human presence, and nature. The exhibition was curated by Karen Haas. In 2015 Radius Books published a book of Bosworth's "The Meadow" pictures accompanied by texts by poet Margot Anne Kelley. "Barbara Bosworth: Sun Light Moon Shadow" is at the Cleveland Museum of Art through June 30. The exhibition offers Bosworth's photographs of light, including eclipses, sunrises, and sunsets, many of which were made near Bosworth's childhood home in eastern Ohio. It was curated by Barbara Tannenbaum. The Nasher Sculpture Center in Dallas is showing "Haas Brothers: Moonlight" through August 25. The exhibition, which highlights the fusion of art, design, and technology in the brothers' practice, shows work made by twin brothers Nikolai and Simon Haas both inside and outside the museum. The Haas Brothers have previously had solo exhibitions at the Katonah (NY) Museum of Art, the SCAD Museum of Art, Savannah, Ga., and at the Bass Museum of Art, Miami Beach, Fla. Instagram: Barbara Bosworth, Barbara Bosworth (weather), Haas Brothers, Tyler Green.

In this 'Photobook Special' episode UNP founder and curator Grant Scott is in his she connecting with Mary V Swanson in Arizona and Darius Himes in New York to discuss their book Publish Your Photography Book and all things 'photobook' related. You can find out more about the book mentioned in this episode here www.publishyourphotographybook.com and here on Instagram @publishyourphotographybook Mary V Swanson is an educator, author, entrepreneur and a respected advisor to artists and arts organisations. She received her MFA in Photography from Arizona State University in 1979 and throughout graduate school she served as a research assistant for the Curator of Photography at the Minneapolis Institute of Art. She began her career at The Friends of Photography in Carmel, California, managing the education offerings including the Ansel Adams Workshop and then moved to New York to head Special Projects at Magnum Photos, before relocating to Tucson, Arizona in 1990 to launch Swanstock, an agency managing licensing rights for fine art photographers. She currently works independently, offering consulting services to artists and arts organisations, and offering her own classes and educational seminars, serving as an advisor for multiple not-for-profit industry organisations, and other community-minded activities. Swanson coauthored with Darius Himes Publish Your Photography Book: Revised & Updated in 2014. Among the recent awards she has received are the 2015 Honoured Educator from the Society for Photographic Education, the 2014 Susan Carr Award for Education from the American Society for Media Photographers (ASMP) and the FOCUS Award for Lifetime Achievement in Photography from the Griffin Museum. She frequently serves as a judge on contemporary photography and photobook competitions, as a portfolio reviewer for industry events, and she presents group learning through interactive lectures, workshops and Master Class Retreats. Swanson is based in Tucson, Arizona. @maryvirginiaswanson. Darius Himes completed his Master of Arts in Liberal Arts at St. John's College in 2000, and received a BFA in Photography from Arizona State University, having studied under William Jenkins and Bill Jay. Based in New York City, Himes has overseen a global team producing auctions and exhibition as the International Head of Photographs for the auction house Christie's since 2014. Prior to joining Christie's, Himes was the director of the Fraenkel Gallery, San Francisco from 2011–2014. In 2007 he co-founded Radius Books, a non-profit publisher of books on photography and the visual arts, where he continues to serve on the Board. While working with artists such as John McCracken and Lee Friedlander, he has published first monographs for over a dozen emerging artists, including Renate Aller, Colleen Plumb, Aaron Huey, Janelle Lynch, Michael Lundgren, Alison Rossiter, and Meghan Riepenhoff. Himes was also the founding editor of the photo-eye Booklist, a quarterly journal devoted to photography books, which was published from 2002–2007. A lecturer and writer, he has contributed to Aperture, The Photobook Review, Blind Spot, Bookforum, FOAM and BOMB. @dariushimes Dr. Grant Scott is the founder/curator of United Nations of Photography, a Senior Lecturer and Subject Co-ordinator: Photography at Oxford Brookes University, Oxford, a working photographer, documentary filmmaker, BBC Radio contributor and the author of Professional Photography: The New Global Landscape Explained (Routledge 2014), The Essential Student Guide to Professional Photography (Routledge 2015), New Ways of Seeing: The Democratic Language of Photography (Routledge 2019). His film Do Not Bend: The Photographic Life of Bill Jay was first screened in 2018 www.donotbendfilm.com. He is the presenter of the A Photographic Life and In Search of Bill Jay podcasts. © Grant Scott 2023

Step into photographer Janelle Lynch's studio in New York City's West Village. This episode was produced in partnership with Flowers Gallery, where Janelle's latest body of work 'Endless Forms Most Beautiful', comprised of diaphanous cyanotypes, is on show until 7 July.Characterised by a unique gentleness and a mystical relationship with nature, Janelle's works have been shown worldwide and are in many private and public collections around the world, including the MET and ICP in New York and the Victoria and Albert Museum in London. Janelle has three monographs published by Radius Books from her time living in Mexico City, Barcelona and her series ‘Another Way of Looking at Love' which was nominated for the Prix Pictet, the leading award in photography and sustainability.View the artwork we discuss on our Instagram @SublimeArtProject: https://www.instagram.com/reel/Csd4x1SAOQm/?igshid=MzRlODBiNWFlZA== Hosted on Acast. See acast.com/privacy for more information.

Episode No. 597 of The Modern Art Notes Podcast features artist Binh Danh and curator Jeffrey Richmond-Moll. Radius Books has just published a two-volume monograph titled, "Binh Danh: The Enigma of Belonging." The book, Danh's first monograph, brings together Danh's prints on plant matter that consider images associated with the war in Vietnam, and Danh's daguerreotypes of scenic vistas in the American West, his attempt to negotiate the land and history of a still-contested region. The book features essays by Danh, Boreth Ly, Joshua Chuang, Isabelle Thuy Pelaud, and Andrew Lam. Bookshop and Amazon offer it for about $60. Danh's work is on view in "Ansel Adams in Our Time" at the de Young Museum, San Francisco. The exhibition, which was curated by Karen Haas for the Museum of Fine Arts, Boston, is on view through July 23. Danh has had solo shows at museums such as the Cantor Arts Center, Stanford University; the North Carolina Museum of Art, Raleigh; and the Sheldon Museum of Art, University of Nebraska. He's in many major US museum collections, including at the Eastman House in Rochester, NY; the San Francisco Museum of Modern Art, the Harvard Art Museums, and the Huntington Library, San Marino, Calif. Richmond-Moll discusses "Object Lessons in American Art: Selections from the Princeton University Art Museum" at the Georgia Museum of Art. The exhibition features work from PUAM that present artworks about American history, culture, and society in ways that reveal how Princeton has taught and presented US art history. It's on view through May 14. A catalogue was published by PUAM. Bookshop and Amazon offer it for $30-40.

Across her 40-year-long career, the photographer Tina Barney has become internationally renowned for capturing her particular milieus—family, friends, and neighbors in Watch Hill, Rhode Island, most notably, but also in New York and Sun Valley, Idaho. On this week's episode of Time Sensitive, she talks about her new book, The Beginning (Radius Books), and corresponding Kasmin gallery show (on view through April 22), which bring together some of her earliest images, taken between 1976 and 1980; what she views as the underlying sources of nostalgia; the fascinating natures of ritual and tradition; and the small miracles that can exist within a single photograph.Special thanks to our Season 7 sponsor, L'ÉCOLE, School of Jewelry Arts.[11:20] “China Visit” (2006)[16:28] “Marina's Room” (1987)[18:40] Watch Hill, Rhode Island[19:16] “The Europeans” (1996–2004)[32:01] “Big Pictures by Contemporary Photographers” at MoMA (1983)[32:07] “Sunday New York Times” (1982)[32:50] “Tina Barney” at MoMA (1990)[33:31] John Szarkowski[38:43] Sun Valley Center for the Arts[47:07] Theater of Manners (1997)[47:10] Players (2011)[47:12] Tina Barney Rizzoli monograph (2017)[47:16] Tina Barney: The Beginning (2023)[47:17] Radius Books[48:55] Kasmin Gallery[51:26] “Waterslide in Fog” (1979)[54:39] “The Suits” (1977)[54:40] “The Twins” (1977)[57:53] ““Amy, Phil, and Brian” (1980)[01:00:04] Robert Liebrich

In this episode of PhotoWork with Sasha Wolf, Sasha and artist, Meghann Riepenhoff discuss her book Ice, published by Radius Books. Meghann talks about how she makes work collaboratively with the environment and how she uses moments of failure as a signal that she is moving in a new direction. http://meghannriepenhoff.com https://www.radiusbooks.org/all-books/p/meghann-riepenhoff-ice Meghann Riepenhoff's work has been exhibited and is held in the collections at the High Museum of Art, the Museum of Fine Arts (Houston), the Museum of Contemporary Photography (Chicago), and the Worcester Art Museum. Additional collections include the Albright-Knox Art Gallery and the San Francisco Museum of Modern Art, which holds Riepenhoff's 12'x18' unique cyanotype. Additional exhibitions include Yossi Milo Gallery, Jackson Fine Art, Galerie du Monde, Euqinom Projects, the Aperture Foundation, San Francisco Camerawork, the Denver Art Museum, the New York Public Library, and the Museum of Fine Arts (Boston). Her work has been featured in ArtForum, Aperture PhotoBook Review, The New York Times, Time Magazine Lightbox, Wall Street Journal, The Guardian, Oprah Magazine, Harper's Magazine, Wired Magazine, and Photograph Magazine. Her first monograph Littoral Drift + Ecotone was co-published by Radius Books and Yossi Milo Gallery.

In this episode of PhotoWork with Sasha Wolf, Sasha and photographer and recently retired Professor of Photography, Barbara Bosworth have a warm and wide-ranging conversation about teaching, choosing locatioo make work, using the 8x10 camera, working in black and white and color, Barbara's expansive definition of landscape and making books, including Barbara's upcoming book, The Sea published by Radius Books. https://www.barbarabosworth.com https://www.radiusbooks.org/all-books/p/barbara-bosworth-the-sea Barbara Bosworth is a photographer whose large-format images explore both overt and subtle relationships between humans and the rest of the natural world. Whether chronicling the efforts of hunters or bird banders or evoking the seasonal changes that transform mountains and meadows, Bosworth's caring attention to the world around her results in images that similarly inspire viewers to look closely. Bosworth grew up in Novelty, Ohio. She currently lives in Massachusetts, where she is a professor emeritus of photography at the Massachusetts College of Art and Design in Boston. Over her long career, Bosworth has photographed in both black and white and color. Her single images display a generous attention to small facts, while her large-scale triptychs reveal a panoramic awareness, one that lets viewers glimpse relationships between frames across a wide field. While all of Bosworth's projects remind viewers not only that we shape the rest of nature but that it also shapes us. Bosworth's work has been widely exhibited, notably in recent retrospectives at the Denver Art Museum in Colorado, Peabody Essex Museum in Salem, Massachusetts, the Smithsonian American Art Museum in Washington, D.C., and the Phoenix Art Museum in Arizona. Her publications include, The Heavens (Radius Books, 2018), The Meadow (Radius Books, 2015), Natural Histories (Radius Books, 2013), Trees: National Champions (MIT Press; Center for Creative Photography, University of Arizona, 2005) and Chasing the Light (Nightwood Press, 2002). Find out more at https://photowork.pinecast.co

To continue our short streak of publisher/designers, I interviewed David Chickey for the podcast. I have often said that I want to be Dave Chickey when I grow up. While we are similar in age, I'd need decades to even come close to his talent and accomplishments. And of course, he couldn't be more lovely or more sincere. (Sidenote: How cool is it that I get to talk to all of these amazing and creative humans? What a life!)David Chickey is the publisher, designer, and editorial director of Radius Books, a nonprofit publishing company based in Santa Fe. He co-founded Radius Books in 2007 with a mission to encourage, promote, and publish books of artistic and cultural value. Radius titles have received national recognition, including multiple awards from AIGA, American Association of Museums Publishing, and best book nominations from The New Yorker, TIME, PDN, Smithsonian, Independent Publisher, and The Paris Photo-Aperture Foundation. Chickey is the former board chair of the Center for Contemporary Arts in Santa Fe, and a graduate of Sussex University, England, and UNC-Chapel Hill, where he was a Morehead Scholar.

Episode No. 527 features artist Jim Isermann and curator Oliver Tostmann. Radius Books has just published the monograph "Jim Isermann." For forty years the California-based Isermann has joined sculpture and painting to design, examinations of domesticity and queerness. Last year the Palm Springs Art Museum presented a survey of Isermann's career. Isermann has fulfilled commissions for sites as unalike as football stadiums at the University of Houston and in Arlington, Texas, and for Stanford and Princeton Universities. His work is in many major art museum collections, including at the Museum of Modern Art and the Hammer Museum. "Isermann" was designed by David Chickey and Mat Patalano. It features an essay by Christopher Knight and a conversation between Isermann and John Burtle. The book is available from Radius, Indiebound and Amazon for $60-65. With Eve Straussman-Pflanzer, Tostmann is the co-curator of "By Her Hand: Artemisia Gentileschi and Women Artists in Italy, 1500-1800" at the Wadsworth Atheneum in Hartford. The exhibition explores how women artists succeeded even though many paths to professional development and patronage were closed to them. Among the artists whose work is included in the project are Gentileschi, Sofonisba Anguissola, Rosalba Carriera, Lavinia Fontana, and Virginia da Vezzo. "By Her Hand" is on view at the Wadsworth through January 9, when it will travel to the Detroit Institute of Arts. The exhibition catalogue was published by the DIA and is distributed by Yale University Press. Indiebound and Amazon offer it for about $40.

On today's podcast I welcome photographer Sandra Cattaneo Adorno who just released a new book with Radius Books. www.sandracattaneoadorno.com @sandracattaneoadorno

(image ©Sandra Cattaneo Adorno) In this episode, Antonio and Ward had the privilege of interviewing Brazilian-born photographer, Sandra Cattaneo Adorno. Sandra began photography career eight years ago when her daughter enrolled her in Alex and Rebecca Webb's street photo workshop in Barcelona for her 60th birthday. Since then, she has traveled the world photographing people in her own unique way. Last year, Radius Books published Sandra's second photo book, "Águas De Ouro," (which translates to "Waters of Gold.") which in itself is a work of art. The Street Shots guys talk to Sandra about her book and what it's like to be a creative and successful midlife photographer.  Show notes and gallery can be found here: http://streetshots.photography/2021/09/13/street-shots-ep-143-ipanema-dreams/ ----more----           Show Links:   Sandra's Website & Instagram Books: "Aguas de Ouro" (You can watch a video presenting the book here)  "The Other Half of the Sky" (Click here to watch a video presenting the book)   Antonio M. Rosario's Website, Instagram feed and Facebook page Ward Rosin's Website, Instagram feed and Facebook page. Ornis Photo Website    Subscribe to us on: Apple Podcasts Google Podcasts Spotify Amazon Music iHeart Radio

Captive elephants exhibit what biologists refer to as stereotypy, which includes rhythmic rocking, head bobbing, stepping back and forth, and pacing. Colleen Plumb traveled to over seventy zoos in the US and Europe, and created video featuring dozens of captive elephants in their small enclosures. She has photographed her guerrilla public projections of the video in over 100 locations worldwide. Thirty Times a Minute (Radius Books, 2020) includes a selection of these photos, along with nine contributions from animal rights activists and scientists, in order to examine the way animals in captivity function as colonialist symbols of human domination over nature. Colleen Plumb is a Chicago based artist who makes photographs and videos that explore the ambivalence and contradiction in our relationships with non-human animals. Mark Molloy is the reviews editor at MAKE: A Literary Magazine. Learn more about your ad choices. Visit megaphone.fm/adchoices

Captive elephants exhibit what biologists refer to as stereotypy, which includes rhythmic rocking, head bobbing, stepping back and forth, and pacing. Colleen Plumb traveled to over seventy zoos in the US and Europe, and created video featuring dozens of captive elephants in their small enclosures. She has photographed her guerrilla public projections of the video in over 100 locations worldwide. Thirty Times a Minute (Radius Books, 2020) includes a selection of these photos, along with nine contributions from animal rights activists and scientists, in order to examine the way animals in captivity function as colonialist symbols of human domination over nature. Colleen Plumb is a Chicago based artist who makes photographs and videos that explore the ambivalence and contradiction in our relationships with non-human animals. Mark Molloy is the reviews editor at MAKE: A Literary Magazine. Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/animal-studies

Captive elephants exhibit what biologists refer to as stereotypy, which includes rhythmic rocking, head bobbing, stepping back and forth, and pacing. Colleen Plumb traveled to over seventy zoos in the US and Europe, and created video featuring dozens of captive elephants in their small enclosures. She has photographed her guerrilla public projections of the video in over 100 locations worldwide. Thirty Times a Minute (Radius Books, 2020) includes a selection of these photos, along with nine contributions from animal rights activists and scientists, in order to examine the way animals in captivity function as colonialist symbols of human domination over nature. Colleen Plumb is a Chicago based artist who makes photographs and videos that explore the ambivalence and contradiction in our relationships with non-human animals. Mark Molloy is the reviews editor at MAKE: A Literary Magazine. Learn more about your ad choices. Visit megaphone.fm/adchoices

Captive elephants exhibit what biologists refer to as stereotypy, which includes rhythmic rocking, head bobbing, stepping back and forth, and pacing. Colleen Plumb traveled to over seventy zoos in the US and Europe, and created video featuring dozens of captive elephants in their small enclosures. She has photographed her guerrilla public projections of the video in over 100 locations worldwide. Thirty Times a Minute (Radius Books, 2020) includes a selection of these photos, along with nine contributions from animal rights activists and scientists, in order to examine the way animals in captivity function as colonialist symbols of human domination over nature. Colleen Plumb is a Chicago based artist who makes photographs and videos that explore the ambivalence and contradiction in our relationships with non-human animals. Mark Molloy is the reviews editor at MAKE: A Literary Magazine. Learn more about your ad choices. Visit megaphone.fm/adchoices

March 18 – July 27, 2019Kathleen O. Ellis GalleryGallery Talk: Friday, March 22, 6pmReception: Friday, March 22, 5-7pmLight Work is pleased to present Robert Benjamin’s River Walking, a solo exhibition of photographs and poems spanning four decades. A self-taught photographer and poet, Benjamin’s work, often centered around his family, offers a simple and honest consideration of what it means to live and to love with intention. “I think you have to love your life, and you have to have the courage to find the world beautiful,” says Benjamin. Enchanted by color and the beauty of photography itself, Benjamin uncovers poetry in the everyday.Benjamin never wanted a career in photography. He simply felt that he needed to make pictures. According to Benjamin, one of the great joys of being a photographer is working with cameras. He appreciates the elegance of mechanical objects deeply—their feel, their smell, their sound. Cameras are “exquisite little machines”—like typewriters, he says. Benjamin has been writing poems on his Smith-Corona Clipper longer than he’s made photographs. His poems echo the sensitivity and humble directness of his photographs. More recently, Benjamin has begun pairing what he aptly calls “small photographs” with “small poems,” a selection of which are included in this exhibition.It’s often a mystery why a picture captivates us. A long-time friend, the widely-admired photographer Robert Adams, has written about Benjamin’s portrait of his son, Walker, in his recent book, Art Can Help. The photograph possesses everything that embodies Benjamin’s work—a convergence of time, poetry, color, love, and mystery. Adams writes, “In the distance, the rain is coming our way and the light is about to change. There is, just now, no place on earth exactly like this one.”lg.ht/RiverWalking—Robert Benjamin grew up in Northern Illinois around suburbs, cornfields, lakes, and the remaining prairies. After a brief encounter with college, he traveled—criss-crossing America, eventually to Paris, finally settling in New York City. There, he decided that photography was what he wanted to do. With the absence of any academic training or community he followed his own direction—creating a style and interest that continues to this day. His photos and poems grew intuitively, and draw on the experience of everyday life, far removed from the art world. In 2010, he agreed to a show of his work at the Denver Art Museum. In 2011, the museum and Radius Books published the book of this work, Notes from a Quiet Life. Benjamin continues to write and photograph. He and his family live in Colorado.—Special thanks to Daylight Blue Mediadaylightblue.comLight Worklightwork.orgMusic: "That feeling you give me." by bbatvMusic: "Vela Vela" by Blue Dot Sessionssessions.blue See acast.com/privacy for privacy and opt-out information.

Normal turned to PTSD and a substance abuse nightmare for Jenny the instant a taxi struck her, catapulting her twenty feet across a busy New York City street. Jenny is one of the lucky ones to have survived the drug rehabilitation system, which routinely fails those at risk. Her story is multiplied across the U.S. in the shattered lives and torn-apart families of millions of Jennies. Vivian Percy's new book Saving Jenny: Rescuing Our Youth from America's Opioid and Suicide Epidemic (Radius Books, 2018) is the narration of a mother and daughter's long painful journey from tragedy, through opioid addiction, toward redemption. Its cautionary tale sheds light on drug dependency, suicidal depression, sexual exploitation and misdiagnosed mind disorders. We discover that these are symptoms of much larger societal issues: the decimation of the family, childhood traumatization, and a culture devoid of human values. These pages unmask a mental health industry focused more on profits than people, which regularly betrays those in its keeping, and the complicity of Big Pharma and insurance companies in these schemas. We see firsthand the abuse, negligence and illicit activities going on in psychiatric and rehab facilities. Learn more about your ad choices. Visit megaphone.fm/adchoices

Normal turned to PTSD and a substance abuse nightmare for Jenny the instant a taxi struck her, catapulting her twenty feet across a busy New York City street. Jenny is one of the lucky ones to have survived the drug rehabilitation system, which routinely fails those at risk. Her story is multiplied across the U.S. in the shattered lives and torn-apart families of millions of Jennies. Vivian Percy's new book Saving Jenny: Rescuing Our Youth from America's Opioid and Suicide Epidemic (Radius Books, 2018) is the narration of a mother and daughter’s long painful journey from tragedy, through opioid addiction, toward redemption. Its cautionary tale sheds light on drug dependency, suicidal depression, sexual exploitation and misdiagnosed mind disorders. We discover that these are symptoms of much larger societal issues: the decimation of the family, childhood traumatization, and a culture devoid of human values. These pages unmask a mental health industry focused more on profits than people, which regularly betrays those in its keeping, and the complicity of Big Pharma and insurance companies in these schemas. We see firsthand the abuse, negligence and illicit activities going on in psychiatric and rehab facilities. Learn more about your ad choices. Visit megaphone.fm/adchoices

Normal turned to PTSD and a substance abuse nightmare for Jenny the instant a taxi struck her, catapulting her twenty feet across a busy New York City street. Jenny is one of the lucky ones to have survived the drug rehabilitation system, which routinely fails those at risk. Her story is multiplied across the U.S. in the shattered lives and torn-apart families of millions of Jennies. Vivian Percy's new book Saving Jenny: Rescuing Our Youth from America's Opioid and Suicide Epidemic (Radius Books, 2018) is the narration of a mother and daughter's long painful journey from tragedy, through opioid addiction, toward redemption. Its cautionary tale sheds light on drug dependency, suicidal depression, sexual exploitation and misdiagnosed mind disorders. We discover that these are symptoms of much larger societal issues: the decimation of the family, childhood traumatization, and a culture devoid of human values. These pages unmask a mental health industry focused more on profits than people, which regularly betrays those in its keeping, and the complicity of Big Pharma and insurance companies in these schemas. We see firsthand the abuse, negligence and illicit activities going on in psychiatric and rehab facilities. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/drugs-addiction-and-recovery

Normal turned to PTSD and a substance abuse nightmare for Jenny the instant a taxi struck her, catapulting her twenty feet across a busy New York City street. Jenny is one of the lucky ones to have survived the drug rehabilitation system, which routinely fails those at risk. Her story is multiplied across the U.S. in the shattered lives and torn-apart families of millions of Jennies. Vivian Percy's new book Saving Jenny: Rescuing Our Youth from America's Opioid and Suicide Epidemic (Radius Books, 2018) is the narration of a mother and daughter’s long painful journey from tragedy, through opioid addiction, toward redemption. Its cautionary tale sheds light on drug dependency, suicidal depression, sexual exploitation and misdiagnosed mind disorders. We discover that these are symptoms of much larger societal issues: the decimation of the family, childhood traumatization, and a culture devoid of human values. These pages unmask a mental health industry focused more on profits than people, which regularly betrays those in its keeping, and the complicity of Big Pharma and insurance companies in these schemas. We see firsthand the abuse, negligence and illicit activities going on in psychiatric and rehab facilities. Learn more about your ad choices. Visit megaphone.fm/adchoices

Normal turned to PTSD and a substance abuse nightmare for Jenny the instant a taxi struck her, catapulting her twenty feet across a busy New York City street. Jenny is one of the lucky ones to have survived the drug rehabilitation system, which routinely fails those at risk. Her story is multiplied across the U.S. in the shattered lives and torn-apart families of millions of Jennies. Vivian Percy's new book Saving Jenny: Rescuing Our Youth from America's Opioid and Suicide Epidemic (Radius Books, 2018) is the narration of a mother and daughter’s long painful journey from tragedy, through opioid addiction, toward redemption. Its cautionary tale sheds light on drug dependency, suicidal depression, sexual exploitation and misdiagnosed mind disorders. We discover that these are symptoms of much larger societal issues: the decimation of the family, childhood traumatization, and a culture devoid of human values. These pages unmask a mental health industry focused more on profits than people, which regularly betrays those in its keeping, and the complicity of Big Pharma and insurance companies in these schemas. We see firsthand the abuse, negligence and illicit activities going on in psychiatric and rehab facilities. Learn more about your ad choices. Visit megaphone.fm/adchoices

Normal turned to PTSD and a substance abuse nightmare for Jenny the instant a taxi struck her, catapulting her twenty feet across a busy New York City street. Jenny is one of the lucky ones to have survived the drug rehabilitation system, which routinely fails those at risk. Her story is multiplied across the U.S. in the shattered lives and torn-apart families of millions of Jennies. Vivian Percy's new book Saving Jenny: Rescuing Our Youth from America's Opioid and Suicide Epidemic (Radius Books, 2018) is the narration of a mother and daughter's long painful journey from tragedy, through opioid addiction, toward redemption. Its cautionary tale sheds light on drug dependency, suicidal depression, sexual exploitation and misdiagnosed mind disorders. We discover that these are symptoms of much larger societal issues: the decimation of the family, childhood traumatization, and a culture devoid of human values. These pages unmask a mental health industry focused more on profits than people, which regularly betrays those in its keeping, and the complicity of Big Pharma and insurance companies in these schemas. We see firsthand the abuse, negligence and illicit activities going on in psychiatric and rehab facilities. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/psychology

Normal turned to PTSD and a substance abuse nightmare for Jenny the instant a taxi struck her, catapulting her twenty feet across a busy New York City street. Jenny is one of the lucky ones to have survived the drug rehabilitation system, which routinely fails those at risk. Her story is multiplied across the U.S. in the shattered lives and torn-apart families of millions of Jennies. Vivian Percy's new book Saving Jenny: Rescuing Our Youth from America's Opioid and Suicide Epidemic (Radius Books, 2018) is the narration of a mother and daughter's long painful journey from tragedy, through opioid addiction, toward redemption. Its cautionary tale sheds light on drug dependency, suicidal depression, sexual exploitation and misdiagnosed mind disorders. We discover that these are symptoms of much larger societal issues: the decimation of the family, childhood traumatization, and a culture devoid of human values. These pages unmask a mental health industry focused more on profits than people, which regularly betrays those in its keeping, and the complicity of Big Pharma and insurance companies in these schemas. We see firsthand the abuse, negligence and illicit activities going on in psychiatric and rehab facilities. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/medicine

Normal turned to PTSD and a substance abuse nightmare for Jenny the instant a taxi struck her, catapulting her twenty feet across a busy New York City street. Jenny is one of the lucky ones to have survived the drug rehabilitation system, which routinely fails those at risk. Her story is multiplied across the U.S. in the shattered lives and torn-apart families of millions of Jennies. Vivian Percy's new book Saving Jenny: Rescuing Our Youth from America's Opioid and Suicide Epidemic (Radius Books, 2018) is the narration of a mother and daughter’s long painful journey from tragedy, through opioid addiction, toward redemption. Its cautionary tale sheds light on drug dependency, suicidal depression, sexual exploitation and misdiagnosed mind disorders. We discover that these are symptoms of much larger societal issues: the decimation of the family, childhood traumatization, and a culture devoid of human values. These pages unmask a mental health industry focused more on profits than people, which regularly betrays those in its keeping, and the complicity of Big Pharma and insurance companies in these schemas. We see firsthand the abuse, negligence and illicit activities going on in psychiatric and rehab facilities. Learn more about your ad choices. Visit megaphone.fm/adchoices

Talking today about 3rd vs 1st person POV and why asking readers which they prefer won't work. Also a bit about Rebecca Solnit and mansplaining. I've received copy edits of THE ARROWS OF THE HEART so we're looking good for launch, Houston!Support the show (http://paypal.me/jeffekennedy)

Each year, Victoria Sambunaris structures her life around a photographic journey through the American landscape. Using a large format 5x7 camera she searches for the intersection between the natural and the manmade. In her own words she has “an unrelenting curiosity to understand the American landscape and our place within it.” Her work has brought her to the farthest corners of Alaska and across the entire length of the US-Mexico border. A recent project has focused on the intersection of geology, industry and culture encompassing the petro-chemical and shipping industries around the Gulf Coast. Sambunaris’ monograph Taxonomy of a Landscape was published by Radius Books in 2014 and was one of Time Magazine’s best photo books of the year. She earned her MFA from Yale in 1999 and is represented by Yancey Richardson Gallery in New York.

In “Georgia O’Keeffe: At Home in the Wonderful Nothing,” a text accompanying the exhibition catalogue Georgia O’Keeffe: Watercolors 1916-1918 (Radius Books and the Georgia O’Keeffe Museum, 2016), Amy Von Lintel investigates a lesser studied period in O’Keeffe’s life and work: the artist’s time in West Texas. In 1916, at the age of twenty-eight, O’Keeffe moved to Canyon, Texas to accept a position as founding faculty of the West Texas State Normal College. O’Keeffe had first journeyed to West Texas in 1912 to teach in the newly founded Amarillo City Public School District. During her time in Canyon, she produced 51 watercolors (46 of which are reproduced in the book), characterized by a level of experimentation that foreshadows her later work. The dry, flat lands of the region, and the stark horizons with their dramatic shadows and sunsets, appealed to O’Keeffe. From 1916-1918, she used watercolor to render landscapes, abstract images, and nude studies of her own body while learning to live in an American West so different from other parts of the United States. Some of the watercolors were shown by Alfred Stieglitz at the 291 Gallery in New York City but O’Keeffe kept many of them in her private collection for the duration of her life. Von Lintel’s discussion of O’Keeffe is framed by the author’s study of letters and records from the O’Keeffe archive at Yale University’s Beinecke Library made available in 1986, as well as correspondence between O’Keeffe and Stieglitz released in 2006. O’Keeffe’s observations are carefully documented throughout the text and offer insight into her personality and aesthetic ideas. Von Lintel also introduces readers to O’Keeffe as a teacher, another part of the artist’s identity that took form in the influential Texas years. Kirstin L. Ellsworth has a Ph.D. in the History of Art from Indiana University (2005) and currently, is an Assistant Professor of Art History at California State University Dominguez Hills. Email: kellsworth@csudh.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices

In “Georgia O’Keeffe: At Home in the Wonderful Nothing,” a text accompanying the exhibition catalogue Georgia O’Keeffe: Watercolors 1916-1918 (Radius Books and the Georgia O’Keeffe Museum, 2016), Amy Von Lintel investigates a lesser studied period in O’Keeffe’s life and work: the artist’s time in West Texas. In 1916, at the age of twenty-eight, O’Keeffe moved to Canyon, Texas to accept a position as founding faculty of the West Texas State Normal College. O’Keeffe had first journeyed to West Texas in 1912 to teach in the newly founded Amarillo City Public School District. During her time in Canyon, she produced 51 watercolors (46 of which are reproduced in the book), characterized by a level of experimentation that foreshadows her later work. The dry, flat lands of the region, and the stark horizons with their dramatic shadows and sunsets, appealed to O’Keeffe. From 1916-1918, she used watercolor to render landscapes, abstract images, and nude studies of her own body while learning to live in an American West so different from other parts of the United States. Some of the watercolors were shown by Alfred Stieglitz at the 291 Gallery in New York City but O’Keeffe kept many of them in her private collection for the duration of her life. Von Lintel’s discussion of O’Keeffe is framed by the author’s study of letters and records from the O’Keeffe archive at Yale University’s Beinecke Library made available in 1986, as well as correspondence between O’Keeffe and Stieglitz released in 2006. O’Keeffe’s observations are carefully documented throughout the text and offer insight into her personality and aesthetic ideas. Von Lintel also introduces readers to O’Keeffe as a teacher, another part of the artist’s identity that took form in the influential Texas years. Kirstin L. Ellsworth has a Ph.D. in the History of Art from Indiana University (2005) and currently, is an Assistant Professor of Art History at California State University Dominguez Hills. Email: kellsworth@csudh.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices

In “Georgia O’Keeffe: At Home in the Wonderful Nothing,” a text accompanying the exhibition catalogue Georgia O’Keeffe: Watercolors 1916-1918 (Radius Books and the Georgia O’Keeffe Museum, 2016), Amy Von Lintel investigates a lesser studied period in O’Keeffe’s life and work: the artist’s time in West Texas. In 1916, at the age of twenty-eight, O’Keeffe moved to Canyon, Texas to accept a position as founding faculty of the West Texas State Normal College. O’Keeffe had first journeyed to West Texas in 1912 to teach in the newly founded Amarillo City Public School District. During her time in Canyon, she produced 51 watercolors (46 of which are reproduced in the book), characterized by a level of experimentation that foreshadows her later work. The dry, flat lands of the region, and the stark horizons with their dramatic shadows and sunsets, appealed to O’Keeffe. From 1916-1918, she used watercolor to render landscapes, abstract images, and nude studies of her own body while learning to live in an American West so different from other parts of the United States. Some of the watercolors were shown by Alfred Stieglitz at the 291 Gallery in New York City but O’Keeffe kept many of them in her private collection for the duration of her life. Von Lintel’s discussion of O’Keeffe is framed by the author’s study of letters and records from the O’Keeffe archive at Yale University’s Beinecke Library made available in 1986, as well as correspondence between O’Keeffe and Stieglitz released in 2006. O’Keeffe’s observations are carefully documented throughout the text and offer insight into her personality and aesthetic ideas. Von Lintel also introduces readers to O’Keeffe as a teacher, another part of the artist’s identity that took form in the influential Texas years. Kirstin L. Ellsworth has a Ph.D. in the History of Art from Indiana University (2005) and currently, is an Assistant Professor of Art History at California State University Dominguez Hills. Email: kellsworth@csudh.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices

In “Georgia O’Keeffe: At Home in the Wonderful Nothing,” a text accompanying the exhibition catalogue Georgia O’Keeffe: Watercolors 1916-1918 (Radius Books and the Georgia O’Keeffe Museum, 2016), Amy Von Lintel investigates a lesser studied period in O’Keeffe’s life and work: the artist’s time in West Texas. In 1916, at the age of twenty-eight, O’Keeffe moved to Canyon, Texas to accept a position as founding faculty of the West Texas State Normal College. O’Keeffe had first journeyed to West Texas in 1912 to teach in the newly founded Amarillo City Public School District. During her time in Canyon, she produced 51 watercolors (46 of which are reproduced in the book), characterized by a level of experimentation that foreshadows her later work. The dry, flat lands of the region, and the stark horizons with their dramatic shadows and sunsets, appealed to O’Keeffe. From 1916-1918, she used watercolor to render landscapes, abstract images, and nude studies of her own body while learning to live in an American West so different from other parts of the United States. Some of the watercolors were shown by Alfred Stieglitz at the 291 Gallery in New York City but O’Keeffe kept many of them in her private collection for the duration of her life. Von Lintel’s discussion of O’Keeffe is framed by the author’s study of letters and records from the O’Keeffe archive at Yale University’s Beinecke Library made available in 1986, as well as correspondence between O’Keeffe and Stieglitz released in 2006. O’Keeffe’s observations are carefully documented throughout the text and offer insight into her personality and aesthetic ideas. Von Lintel also introduces readers to O’Keeffe as a teacher, another part of the artist’s identity that took form in the influential Texas years. Kirstin L. Ellsworth has a Ph.D. in the History of Art from Indiana University (2005) and currently, is an Assistant Professor of Art History at California State University Dominguez Hills. Email: kellsworth@csudh.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices

This week on the Halftone my guest is Darius Himes. Over the course of his career Himes has been an editor of the photo-eye booklist, a director of Fraenkel Gallery in San Francisco and co-founder of photography imprint Radius Books. With Mary Virginia Swanson he is the co-author of Publish Your Photography Book, published in 2011 by Princeton Architectural Press. He's now International Head of Photographs at the auction powerhouse Christie's. We visited to discuss his life-long love of photography, his Iowa upbringing, travels in Israel and love of photography! This episode of the Halftone is sponsored by Haywire Press offering signed, deluxe and limited edition books by photo legend Lee Friedlander.

Piksa Niugini by Stephen Dupont, with forward by Robert Gardner and essay by Bob Connolly, is published by the Peabody Press and Radius Books, (2013). Volume 1: 144 pages, 80 duotone, 6 color images. Volume 2: 144 pages, 120 color images. Piksa Niugini records noted Australian photographer Stephen Dupont’s journey through some of Papua New Guinea’s most important cultural and historical zones – the Highlands, Sepik, Bougainville and the capital city Port Moresby. The project is contained in two volumes in a slipcase one of portraits of local people, and the second of personal diaries. This remarkable body of work captures one of the world’s last truly wild and unique frontiers. Stephen’s work for this book was conducted with the support of the Robert Gardner Fellowship of Photography from Harvard’s Peabody Museum of Archaeology and Ethnology. The first volume of portraits reproduced in luscious duotone and 4 color; the second is an eclectic collection of the diaries, drawings, contact sheets and documentary photographs that Dupont created as he produced the project, which add to a broader understanding of the images in volume one. Stephen Dupont has produced a remarkable body of visual work; hauntingly beautiful photographs of fragile cultures and marginalized peoples. He skillfully captures the human dignity of his subjects with great intimacy and often in some of the worlds most dangerous regions. His images have received international acclaim for their artistic integrity and valuable insight into the people, culture and communities that have existed for hundreds of years, yet are fast disappearing from our world. Dupont’s work has earned him photography’s most prestigious prizes, including a Robert Capa Gold Medal citation from the Overseas Press Club of America; a Bayeux War Correspondents Prize; and first places in the World Press Photo, Pictures of the Year International, the Australian Walkleys, and Leica/CCP Documentary Award. In 2007, he was the recipient of the W. Eugene Smith Grant for Humanistic Photography for his ongoing project on Afghanistan, and in 2010 he received the Gardner Fellowship at Harvard’s Peabody Museum of Archaeology and Ethnology. Learn more about your ad choices. Visit megaphone.fm/adchoices

Piksa Niugini by Stephen Dupont, with forward by Robert Gardner and essay by Bob Connolly, is published by the Peabody Press and Radius Books, (2013). Volume 1: 144 pages, 80 duotone, 6 color images. Volume 2: 144 pages, 120 color images. Piksa Niugini records noted Australian photographer Stephen Dupont’s journey... Learn more about your ad choices. Visit megaphone.fm/adchoices

Piksa Niugini by Stephen Dupont, with forward by Robert Gardner and essay by Bob Connolly, is published by the Peabody Press and Radius Books, (2013). Volume 1: 144 pages, 80 duotone, 6 color images. Volume 2: 144 pages, 120 color images. Piksa Niugini records noted Australian photographer Stephen Dupont’s journey through some of Papua New Guinea’s most important cultural and historical zones – the Highlands, Sepik, Bougainville and the capital city Port Moresby. The project is contained in two volumes in a slipcase one of portraits of local people, and the second of personal diaries. This remarkable body of work captures one of the world’s last truly wild and unique frontiers. Stephen’s work for this book was conducted with the support of the Robert Gardner Fellowship of Photography from Harvard’s Peabody Museum of Archaeology and Ethnology. The first volume of portraits reproduced in luscious duotone and 4 color; the second is an eclectic collection of the diaries, drawings, contact sheets and documentary photographs that Dupont created as he produced the project, which add to a broader understanding of the images in volume one. Stephen Dupont has produced a remarkable body of visual work; hauntingly beautiful photographs of fragile cultures and marginalized peoples. He skillfully captures the human dignity of his subjects with great intimacy and often in some of the worlds most dangerous regions. His images have received international acclaim for their artistic integrity and valuable insight into the people, culture and communities that have existed for hundreds of years, yet are fast disappearing from our world. Dupont’s work has earned him photography’s most prestigious prizes, including a Robert Capa Gold Medal citation from the Overseas Press Club of America; a Bayeux War Correspondents Prize; and first places in the World Press Photo, Pictures of the Year International, the Australian Walkleys, and Leica/CCP Documentary Award. In 2007, he was the recipient of the W. Eugene Smith Grant for Humanistic Photography for his ongoing project on Afghanistan, and in 2010 he received the Gardner Fellowship at Harvard’s Peabody Museum of Archaeology and Ethnology. Learn more about your ad choices. Visit megaphone.fm/adchoices

Piksa Niugini by Stephen Dupont, with forward by Robert Gardner and essay by Bob Connolly, is published by the Peabody Press and Radius Books, (2013). Volume 1: 144 pages, 80 duotone, 6 color images. Volume 2: 144 pages, 120 color images. Piksa Niugini records noted Australian photographer Stephen Dupont’s journey through some of Papua New Guinea’s most important cultural and historical zones – the Highlands, Sepik, Bougainville and the capital city Port Moresby. The project is contained in two volumes in a slipcase one of portraits of local people, and the second of personal diaries. This remarkable body of work captures one of the world’s last truly wild and unique frontiers. Stephen’s work for this book was conducted with the support of the Robert Gardner Fellowship of Photography from Harvard’s Peabody Museum of Archaeology and Ethnology. The first volume of portraits reproduced in luscious duotone and 4 color; the second is an eclectic collection of the diaries, drawings, contact sheets and documentary photographs that Dupont created as he produced the project, which add to a broader understanding of the images in volume one. Stephen Dupont has produced a remarkable body of visual work; hauntingly beautiful photographs of fragile cultures and marginalized peoples. He skillfully captures the human dignity of his subjects with great intimacy and often in some of the worlds most dangerous regions. His images have received international acclaim for their artistic integrity and valuable insight into the people, culture and communities that have existed for hundreds of years, yet are fast disappearing from our world. Dupont’s work has earned him photography’s most prestigious prizes, including a Robert Capa Gold Medal citation from the Overseas Press Club of America; a Bayeux War Correspondents Prize; and first places in the World Press Photo, Pictures of the Year International, the Australian Walkleys, and Leica/CCP Documentary Award. In 2007, he was the recipient of the W. Eugene Smith Grant for Humanistic Photography for his ongoing project on Afghanistan, and in 2010 he received the Gardner Fellowship at Harvard’s Peabody Museum of Archaeology and Ethnology. Learn more about your ad choices. Visit megaphone.fm/adchoices

Piksa Niugini by Stephen Dupont, with forward by Robert Gardner and essay by Bob Connolly, is published by the Peabody Press and Radius Books, (2013). Volume 1: 144 pages, 80 duotone, 6 color images. Volume 2: 144 pages, 120 color images. Piksa Niugini records noted Australian photographer Stephen Dupont’s journey through some of Papua New Guinea’s most important cultural and historical zones – the Highlands, Sepik, Bougainville and the capital city Port Moresby. The project is contained in two volumes in a slipcase one of portraits of local people, and the second of personal diaries. This remarkable body of work captures one of the world’s last truly wild and unique frontiers. Stephen’s work for this book was conducted with the support of the Robert Gardner Fellowship of Photography from Harvard’s Peabody Museum of Archaeology and Ethnology. The first volume of portraits reproduced in luscious duotone and 4 color; the second is an eclectic collection of the diaries, drawings, contact sheets and documentary photographs that Dupont created as he produced the project, which add to a broader understanding of the images in volume one. Stephen Dupont has produced a remarkable body of visual work; hauntingly beautiful photographs of fragile cultures and marginalized peoples. He skillfully captures the human dignity of his subjects with great intimacy and often in some of the worlds most dangerous regions. His images have received international acclaim for their artistic integrity and valuable insight into the people, culture and communities that have existed for hundreds of years, yet are fast disappearing from our world. Dupont’s work has earned him photography’s most prestigious prizes, including a Robert Capa Gold Medal citation from the Overseas Press Club of America; a Bayeux War Correspondents Prize; and first places in the World Press Photo, Pictures of the Year International, the Australian Walkleys, and Leica/CCP Documentary Award. In 2007, he was the recipient of the W. Eugene Smith Grant for Humanistic Photography for his ongoing project on Afghanistan, and in 2010 he received the Gardner Fellowship at Harvard’s Peabody Museum of Archaeology and Ethnology. Learn more about your ad choices. Visit megaphone.fm/adchoices

Piksa Niugini by Stephen Dupont, with forward by Robert Gardner and essay by Bob Connolly, is published by the Peabody Press and Radius Books, (2013). Volume 1: 144 pages, 80 duotone, 6 color images. Volume 2: 144 pages, 120 color images. Piksa Niugini records noted Australian photographer Stephen Dupont’s journey through some of Papua New Guinea’s most important cultural and historical zones – the Highlands, Sepik, Bougainville and the capital city Port Moresby. The project is contained in two volumes in a slipcase one of portraits of local people, and the second of personal diaries. This remarkable body of work captures one of the world’s last truly wild and unique frontiers. Stephen’s work for this book was conducted with the support of the Robert Gardner Fellowship of Photography from Harvard’s Peabody Museum of Archaeology and Ethnology. The first volume of portraits reproduced in luscious duotone and 4 color; the second is an eclectic collection of the diaries, drawings, contact sheets and documentary photographs that Dupont created as he produced the project, which add to a broader understanding of the images in volume one. Stephen Dupont has produced a remarkable body of visual work; hauntingly beautiful photographs of fragile cultures and marginalized peoples. He skillfully captures the human dignity of his subjects with great intimacy and often in some of the worlds most dangerous regions. His images have received international acclaim for their artistic integrity and valuable insight into the people, culture and communities that have existed for hundreds of years, yet are fast disappearing from our world. Dupont’s work has earned him photography’s most prestigious prizes, including a Robert Capa Gold Medal citation from the Overseas Press Club of America; a Bayeux War Correspondents Prize; and first places in the World Press Photo, Pictures of the Year International, the Australian Walkleys, and Leica/CCP Documentary Award. In 2007, he was the recipient of the W. Eugene Smith Grant for Humanistic Photography for his ongoing project on Afghanistan, and in 2010 he received the Gardner Fellowship at Harvard’s Peabody Museum of Archaeology and Ethnology. Learn more about your ad choices. Visit megaphone.fm/adchoices

The Resolution of the Suspect by Israeli photographer Miki Kratsman, with text by Ariella Azoulay, is co-published by the Peabody Museum Press at Harvard and Radius Books of Santa Fe, NM (2016). Mr. Kratsman was the 2011 recipient of the Robert Gardner Fellowship in Photography, an internationally recognized award given annually by the Peabody Museum of Archaeology and Ethnology to a photographer who has demonstrated great originality working in the documentary vein. Through images created in the context of daily news, his tens of thousands of photographs have, in retrospect, taken on fascinating new meanings, as bystanders become protagonists and peripheral details move to the center. Isolated from the original frame, cropped, enlarged, and redisplayed, the reimagined images ask us to explore the limits of the observers gaze under conditions of occupation. These photographs look at both “wanted men”—individuals sought by the Israeli state– and the everyman and everywoman on the street who, by virtue of being Palestinian in a particular time and place, can be seen as a “suspect.” The work is both transgressive and banal, crossing boundaries between Israel and Palestine, wanted and innocent, street photography and surveillance imagery. Kratsman has also provoked vital, long-term interaction around the images on social media, creating a Facebook page on which viewers are invited to identify the individuals portrayed and comment on their “fate.” His complex project is chronicled in this book in more than 300 images that powerfully implicate the viewer as we follow the gaze of both occupier and occupied within a complex web of power relations around issues of life and death. Supported with thought-provoking text by Ariella Azoulay, she looks at various models of historical and civil construction of the gaze and explores the ways in which the shadow of death is an actual threat that hovers over Kratsman’s photographed persons and frames both individuals and the borrowed time within which they exist. Miki Kratsman was born in Argentina and emigrated to Israel in 1971. He worked as a photojournalist for Hadashot and Ha’aretz until 2012. A photo educator for a number of years, Mr. Kratsman has taught at the Camera Obscura College of Photography and the School for Geographic Photography of Tel Aviv as well as in the Department of Art in Haifa University, he was also the head of the photography department at Bezalel Academy of Arts and Design until 2014, when he retired. Learn more about your ad choices. Visit megaphone.fm/adchoices

The Resolution of the Suspect by Israeli photographer Miki Kratsman, with text by Ariella Azoulay, is co-published by the Peabody Museum Press at Harvard and Radius Books of Santa Fe, NM (2016). Mr. Kratsman was the 2011 recipient of the Robert Gardner Fellowship in Photography, an internationally recognized award given annually by the Peabody Museum of Archaeology and Ethnology to a photographer who has demonstrated great originality working in the documentary vein. Through images created in the context of daily news, his tens of thousands of photographs have, in retrospect, taken on fascinating new meanings, as bystanders become protagonists and peripheral details move to the center. Isolated from the original frame, cropped, enlarged, and redisplayed, the reimagined images ask us to explore the limits of the observers gaze under conditions of occupation. These photographs look at both “wanted men”—individuals sought by the Israeli state– and the everyman and everywoman on the street who, by virtue of being Palestinian in a particular time and place, can be seen as a “suspect.” The work is both transgressive and banal, crossing boundaries between Israel and Palestine, wanted and innocent, street photography and surveillance imagery. Kratsman has also provoked vital, long-term interaction around the images on social media, creating a Facebook page on which viewers are invited to identify the individuals portrayed and comment on their “fate.” His complex project is chronicled in this book in more than 300 images that powerfully implicate the viewer as we follow the gaze of both occupier and occupied within a complex web of power relations around issues of life and death. Supported with thought-provoking text by Ariella Azoulay, she looks at various models of historical and civil construction of the gaze and explores the ways in which the shadow of death is an actual threat that hovers over Kratsman’s photographed persons and frames both individuals and the borrowed time within which they exist. Miki Kratsman was born in Argentina and emigrated to Israel in 1971. He worked as a photojournalist for Hadashot and Ha’aretz until 2012. A photo educator for a number of years, Mr. Kratsman has taught at the Camera Obscura College of Photography and the School for Geographic Photography of Tel Aviv as well as in the Department of Art in Haifa University, he was also the head of the photography department at Bezalel Academy of Arts and Design until 2014, when he retired. Learn more about your ad choices. Visit megaphone.fm/adchoices

The Resolution of the Suspect by Israeli photographer Miki Kratsman, with text by Ariella Azoulay, is co-published by the Peabody Museum Press at Harvard and Radius Books of Santa Fe, NM (2016). Mr. Kratsman was the 2011 recipient of the Robert Gardner Fellowship in Photography, an internationally recognized award given annually by the Peabody Museum of Archaeology and Ethnology to a photographer who has demonstrated great originality working in the documentary vein. Through images created in the context of daily news, his tens of thousands of photographs have, in retrospect, taken on fascinating new meanings, as bystanders become protagonists and peripheral details move to the center. Isolated from the original frame, cropped, enlarged, and redisplayed, the reimagined images ask us to explore the limits of the observers gaze under conditions of occupation. These photographs look at both “wanted men”—individuals sought by the Israeli state– and the everyman and everywoman on the street who, by virtue of being Palestinian in a particular time and place, can be seen as a “suspect.” The work is both transgressive and banal, crossing boundaries between Israel and Palestine, wanted and innocent, street photography and surveillance imagery. Kratsman has also provoked vital, long-term interaction around the images on social media, creating a Facebook page on which viewers are invited to identify the individuals portrayed and comment on their “fate.” His complex project is chronicled in this book in more than 300 images that powerfully implicate the viewer as we follow the gaze of both occupier and occupied within a complex web of power relations around issues of life and death. Supported with thought-provoking text by Ariella Azoulay, she looks at various models of historical and civil construction of the gaze and explores the ways in which the shadow of death is an actual threat that hovers over Kratsman’s photographed persons and frames both individuals and the borrowed time within which they exist. Miki Kratsman was born in Argentina and emigrated to Israel in 1971. He worked as a photojournalist for Hadashot and Ha’aretz until 2012. A photo educator for a number of years, Mr. Kratsman has taught at the Camera Obscura College of Photography and the School for Geographic Photography of Tel Aviv as well as in the Department of Art in Haifa University, he was also the head of the photography department at Bezalel Academy of Arts and Design until 2014, when he retired. Learn more about your ad choices. Visit megaphone.fm/adchoices

The Resolution of the Suspect by Israeli photographer Miki Kratsman, with text by Ariella Azoulay, is co-published by the Peabody Museum Press at Harvard and Radius Books of Santa Fe, NM (2016). Mr. Kratsman was the 2011 recipient of the Robert Gardner Fellowship in Photography, an internationally recognized award given annually by the Peabody Museum of Archaeology and Ethnology to a photographer who has demonstrated great originality working in the documentary vein. Through images created in the context of daily news, his tens of thousands of photographs have, in retrospect, taken on fascinating new meanings, as bystanders become protagonists and peripheral details move to the center. Isolated from the original frame, cropped, enlarged, and redisplayed, the reimagined images ask us to explore the limits of the observers gaze under conditions of occupation. These photographs look at both “wanted men”—individuals sought by the Israeli state– and the everyman and everywoman on the street who, by virtue of being Palestinian in a particular time and place, can be seen as a “suspect.” The work is both transgressive and banal, crossing boundaries between Israel and Palestine, wanted and innocent, street photography and surveillance imagery. Kratsman has also provoked vital, long-term interaction around the images on social media, creating a Facebook page on which viewers are invited to identify the individuals portrayed and comment on their “fate.” His complex project is chronicled in this book in more than 300 images that powerfully implicate the viewer as we follow the gaze of both occupier and occupied within a complex web of power relations around issues of life and death. Supported with thought-provoking text by Ariella Azoulay, she looks at various models of historical and civil construction of the gaze and explores the ways in which the shadow of death is an actual threat that hovers over Kratsman’s photographed persons and frames both individuals and the borrowed time within which they exist. Miki Kratsman was born in Argentina and emigrated to Israel in 1971. He worked as a photojournalist for Hadashot and Ha’aretz until 2012. A photo educator for a number of years, Mr. Kratsman has taught at the Camera Obscura College of Photography and the School for Geographic Photography of Tel Aviv as well as in the Department of Art in Haifa University, he was also the head of the photography department at Bezalel Academy of Arts and Design until 2014, when he retired. Learn more about your ad choices. Visit megaphone.fm/adchoices

The Resolution of the Suspect by Israeli photographer Miki Kratsman, with text by Ariella Azoulay, is co-published by the Peabody Museum Press at Harvard and Radius Books of Santa Fe, NM (2016). Mr. Kratsman was the 2011 recipient of the Robert Gardner Fellowship in Photography, an internationally recognized award given annually by the Peabody Museum of Archaeology and Ethnology to a photographer who has demonstrated great originality working in the documentary vein. Through images created in the context of daily news, his tens of thousands of photographs have, in retrospect, taken on fascinating new meanings, as bystanders become protagonists and peripheral details move to the center. Isolated from the original frame, cropped, enlarged, and redisplayed, the reimagined images ask us to explore the limits of the observers gaze under conditions of occupation. These photographs look at both “wanted men”—individuals sought by the Israeli state– and the everyman and everywoman on the street who, by virtue of being Palestinian in a particular time and place, can be seen as a “suspect.” The work is both transgressive and banal, crossing boundaries between Israel and Palestine, wanted and innocent, street photography and surveillance imagery. Kratsman has also provoked vital, long-term interaction around the images on social media, creating a Facebook page on which viewers are invited to identify the individuals portrayed and comment on their “fate.” His complex project is chronicled in this book in more than 300 images that powerfully implicate the viewer as we follow the gaze of both occupier and occupied within a complex web of power relations around issues of life and death. Supported with thought-provoking text by Ariella Azoulay, she looks at various models of historical and civil construction of the gaze and explores the ways in which the shadow of death is an actual threat that hovers over Kratsman’s photographed persons and frames both individuals and the borrowed time within which they exist. Miki Kratsman was born in Argentina and emigrated to Israel in 1971. He worked as a photojournalist for Hadashot and Ha’aretz until 2012. A photo educator for a number of years, Mr. Kratsman has taught at the Camera Obscura College of Photography and the School for Geographic Photography of Tel Aviv as well as in the Department of Art in Haifa University, he was also the head of the photography department at Bezalel Academy of Arts and Design until 2014, when he retired. Learn more about your ad choices. Visit megaphone.fm/adchoices