A geometric motif pursued through collage by a celebrated Croatian protagonist of concrete art

Croatian artist Julije Knifer (1924-2004) is recognized as one of the most prominent artists related to concrete art after 1945, as well as a founding member of the 1960s art collective known as the Gorgona Group. Over a career spanning five decades, Knifer developed a singularly restrained practice focusing on the variation of a single visual motif: the meander. Knifer's meanders have been interpreted differently depending on the period in which they appeared: first in the context of geometric abstraction and neo-constructivism of the New Tendencies of the 1960s. Today, they are more often understood as a gesture of resistance, with their asceticism and interest in the absurdism of anti-art and the neo avant-garde.

This book focuses on a group of collages, produced in the late 1950s and early 1960s, that illustrates the development of the meander motif at a pivotal moment in Knifer's career.

Essays and meditations on iPhone photography, artist residencies, mortality and more from the acclaimed New England photographer and educator

A 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.

New writings from Stephanie Snyder, Kate Fowle, Geoffrey Batchen and more on photo cultures past and present

The 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.

Scenes from the frontlines of American feminism and civil rights, from the archives of folk singer, filmmaker and photographer Bev Grant

This is the first monograph on Brooklyn-based photographer Bev Grant's (born 1942) extensive archive of photographs made from 1968 to 1972, when she was on the frontlines as a feminist and political activist. Grant began taking photographs as part of her participation in demonstrations with the Women's Movement, such as No More Miss America in Atlantic City in 1968 and The Jeannette Rankin Brigade in Washington, DC, in 1968. As a member of the film collective New York Newsreel, she gained access to the Young Lords Party, the Black Panther Party and the Poor People's Campaign.

When I sat in on a workshop given by Students for a Democratic Society at Princeton University in 1967, I had no idea of the impact it would have on the rest of my life. The workshop topic was women's liberation. It was an awakening, a dawn of consciousness that gave me a framework to understand my life and a path that I continue to follow.

This first monograph on the oeuvre of Kon Trubkovich (born 1979) surveys the Russian artist's career in color reproductions and in-depth critical discussion, traversing the period from his first museum exhibition in 2006 to the present day. His works delve into themes of rebellion, memory, imprisonment and perception through a wide variety of media, including painting, drawing, photography and sculpture. Trubkovich's multimedia creations are generally based upon film stills, sourced from videos that range from prison footage to found movie clips and home videos. Extended across a series, these isolated fragments, generally distorted or grainy, evoke human processes of memorialization and psychological narrative. The artist's solo exhibitions, all of which are touched upon here, include No Country for Old Men MoMA (PS1), Almost Nowhere, Signali (both Marianne Boesky) and Leap Second (OHWOW).

Wardell Milan (born 1978) earned a BFA in photography and painting in 2001 at the University of Tennessee, Knoxville, and his MFA at Yale University in 2004. Right out of school in 2005 Milan emerged and was included in institutional exhibitions such as Greater New York at P.S.1 Contemporary Art Center and Frequency at The Studio Museum in Harlem. Milan has continued to challenge conventions of medium and message in his deeply personal and prolific work, which has been exhibited internationally.
His work has been collected by The Studio Museum in Harlem; Denver Art Museum; Museum of Modern Art, New York; San Francisco Museum of Modern Art; Hessel Museum of Art, Bard College, and Art Institute of Chicago. Milan is represented by David Nolan Gallery in New York. This is Milan's first monograph covering the breadth of his studio and exhibition practice over the course of the past decade and leading into the next.

Featured in the Guggenheim's 2015 landmark Photo-Poetics exhibition, New York-based artist Leslie Hewitt (born 1977) is one of the most revered artists working between photography and sculpture. Collaboration has been a central part of Hewitt's art, including projects with William Cordova and Matt Keegan, and her ongoing work with cinematographer Bradford Young exploring the Menil Collection archive of civil rights-era photographs.

That cinematic rumination on historicity and the relationship of the archive to memory, minimalism, lived experience and time, sets an exemplary precedent for this first monograph surveying Hewitt's oeuvre. Edited by Cay Sophie Rabinowitz with texts by Nana Adusei-Poka and others, and designed by Garrick Gott, with color reproductions and in-depth critical essays, this book offers rare insights into the artist's extensive personal archive of images, concepts and ideas.

Over the course of a two-year period, photographer Brain Dailey traveled across the country with the objective of capturing individual portraits of the uncelebrated American electorate. From Jackson Square in downtown New Orleans to the open range in Texas, he organized impromptu photo shoots with more than 1,200 citizens, including those with no interest in politics or voting. In the portraits each individual expresses their personal identity casually in dress and pose, while their political identity is a chosen backdrop: blue for Democrat, red for Republican, grey for Independent, green for the Green Party and orange for those who don't vote. The resulting monograph, Brian Dailey: America in Color challenges our perceptions of the components and individual characters that shape the American political process.

Writings and photography by Tom McDonough, Stephanie Snyder, Louis Jaffe and Horatiu Sava in the latest OSMOS

The latest issue of OSMOS features Stefan Gronert's essay exploring Thomas Struth's family portraits; Cay Sophie Rabinowitz on OSMOS artist-in-residence Kevin Claiborne; Leila Grothe on Cynthia Daignault's paintings reflecting on American life; Chilean artist Felipe Mujica in conversation with Marcos Agudelo; Christian Rattemeyer on Adam Simon's paintings; Tom McDonough on David Schoerner's birdhouse series; Stephanie Snyder on Fabiola Menchelli in Eye of the Beholder; Horatiu Sava's story of Romanian sheep herders; Louis Jaffe's use of digital mapping to explore Californian wildfires; and Reportage by Guannan Li on fishermen in the Portugese town of Ovar.
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.

Nilbar G�res (born 1977) is a Turkish multidisciplinary artist whose work explores the politics and construction of female identity in relation to geography and religion. The launch of her first monograph, Nilbar G�res: Who Is the Subject?, published by OSMOS Books, coincides with an intimate first exhibition in New York, entitled, Pink Is the New Black at OSMOS Address including photography, collage, video and drawing. In the series Unknown Sports, G�res depicts women in their private spaces transforming them, as the artist remarks: high jumpers instead of window cleaners, sprinters instead of shop keepers, shot-putting instead of holding our siblings in their arms. The artist leads the viewer to reevaluate and reconsider the conventional relationship between women, their domestic environments and public space, sexual politics and the perception of Muslim women in Europe.

Glen Rubsamen's latest book is an extension of his new body of photographic works. It revolves around the Rhynchophorus ferrugineus, better known as the Red Palm Weevil--an insect with Asiatic origins that has moved quickly westward over the last century, aided by technology and globalism. The weevil's arrival in Southern Europe has devastated palm trees around the Mediterranean, a development Rubsamen describes as a case of globalization eating colonialism, as many of the affected palms were planted in the last century for touristic and political reasons. Rubsamen depicts a process by which romantic elements in the landscape change meaning as things disappear from the mix; it is an investigation of a subtractive aesthetic event. In addition to the photographs and collage endpapers designed by the artist, the book contains an explanatory text by Stille, fiction by Licht and an interview by Soyez-Petithomme. The book is blind stamped with limp cloth binding.