"Carmen Winant"
Osmos Magazine: Issue 13Edited by Cay Sophie Rabinowitz.
Osmos magazine is “an art magazine about the use and abuse of photography,” explains founder and editor Cay Sophie Rabinowitz (formerly of Parkett and Fantom).
The magazine is divided into thematic sections—some traditional, such as “Portfolio,” “Stories” and “Reportage”—and others more idiosyncratic, such as “Eye of the Beholder,” where gallerists discuss the talents they showcase; and “Means to an End,” on the side effects of nonartistic image production. This issue features a portfolio of work by the conceptual photographer Bing Wright, curator Drew Sawyer on Carmen Winant, an intimate look at the work of Lari Pittman and an essay by Peter Weibel on interface technology in the films of Kathryn Bigelow.
“Is the Still Life the Form of the Moment?”
Aperture
Six photography curators consider images that have new resonance in the era of social distancing.
EIGHT PHOTOGRAPHS. EIGHT WAYS TO CONTEMPLATE THE CLIMATE CRISIS
Photograph Magazine
The impact of fossil fuels on the environment made front page news at least 30 years ago. Though there are those who still deny the existence of climate change, many photographers, critics, and curators have engaged with this pressing issue over the years, urging us to confront the ramifications of the environmental crisis. We have asked eight professionals in the field of photography to each select a single photograph that resonated with them in the last year and that relates to this theme. Their selections suggest a variety of ways to contemplate the threat to our planet.
DREW SAWYER ON AEROSPACE FOLKTALES BY ALLAN SEKULA
Mousse 61December 2017-January 2018
On Display
This issue of Mousse explores the ways in which concerns surrounding exhibition display and elements derived from exhibition architecture have been appropriated by contemporary artworks and art practices, and how artistic modes and attitudes have played a significant role in shaping the lexicon of exhibition design. We asked a diverse pool of guest contributors—artists, curators, writers, art and architecture critics—to select illuminating cases of cross-pollination, and to compile extended captions for their chosen images. Many more images are interspersed in the issue, and captioned in groups every few pages. The ordering is not chronological, nor by any means hierarchic. Mousse 61 is a partial mood board for this analysis of a significant and special relationship.
