Natalie Bell – författare

The first monograph on an important young American artist, generously illustrated with color images of his work.In his sculptures and installations, Matthew Angelo Harrison (b. 1989) engages with the legacies of racism and colonialism, parsing their contemporary connections to labor in the United States through an evolving visual language. With works that merge manufacturing technologies with the formal concerns of modernism and minimalism, the artist questions ideas of authorship and reproduction. Harrison's sculptures often include found objects--including traditional African figurines and auto industry ephemera--encased in resin blocks. Frozen and entombed, these sculptures appear as strangely haunted minimalist objects, both ancient and futuristic. This generously illustrated volume, published in conjunction with two major solo exhibitions, is the first monograph on an important young American artist. Another specter haunting Harrison's work is that of Detroit's defunct auto industry. A native of Detroit who once worked making prototypes in an auto manufacturing plant, Harrison sometimes employs precision machine-tooling techniques that are derived from those used by auto makers. In other works, Harrison replicates rare African masks and sculptures using hand-built, low-resolution 3D printing machines, rendering large-scale forms in wet clay--fragile, imperfect, and subject to glitches. In addition to color photos of Harrison’s work and images that illustrate the artist’s relationship to Detroit, the book features essays by curators and art historians Jessica Bell Brown and Elena Filipovic, as well as a conversation between Harrison and musician and theorist DeForrest Brown, Jr., led by curator Taylor Renee Aldridge.  ContributorsNatalie Bell, Elena Filipovic, Jessica Bell Brown, Taylor Renee Aldridge, DeForrest Brown Jr., Matthew Angelo Harrison

The first comprehensive monograph in over a decade celebrating the work of pioneering video artist Steina, who is known for pushing perspective beyond the human-centered realm.Accompanying the related exhibition at MIT List Visual Arts Center and Buffalo AKG Art Museum, Steina brings renewed recognition to Steina (b. 1940, Iceland), tracing her oeuvre from early collaborative works with her partner Woody Vasulka to her independent explorations of optics and a liberated, non-anthropocentric subjectivity. It follows her practice from downtown New York to Buffalo to the vast landscapes of New Mexico and Iceland, which appear in her immersive video environments of the 1990s and 2000s. Venturing into nature and combining imaging technologies with reflective orbs, Steina reorientated the human body’s relationship to nature and expanded how we access the natural world through media.Scholars including Gloria Sutton, Joey Heinen, and Ina Blom consider how Steina’s generative sense of play gave way to methods of processing and computation; contextualize Steina alongside a group of her peers who shared an obsession with the electronic signal; and argue for her interest in video as a proto-virtual space. Steina has never felt more relevant.Steina, born Steinunn Briem Bjarnadottir, studied violin and music theory in Reykjavik before attending the State Music Conservatory in Prague, Czechoslovakia. In 1965, she emigrated to New York City. By the late 1960s, she began to focus entirely on video work, and in 1971, cofounded The Electronic Kitchen (later The Kitchen), an experimental electronic media space. Her work has been shown at the Centre Georges Pompidou, Paris, the Whitney Museum of American Art, New York, and many other places.A copublication with the MIT List Visual Arts Center and Buffalo AKG Art Museum

This first major monograph on Guatemalan multimedia artist Naufus Ramírez-Figueroa (born 1978) contextualizes his works in performance, sculpture, drawing and printmaking of the past ten years. Ramírez-Figueroa's installations often combine sculpture and aspects of avant-garde theater to allude to traumatic events that have shaped the political climate of present-day Guatemala. Ramírez-Figueroa expands on references to literature, folklore, magic and childhood memories. For this catalog, Catherine Wood, Senior Curator of Performance at Tate Modern, considers the artist's work through the lens of performance art, while Guatemalan Garifuna poet Wingston Gonzalez takes up its connections to the legacy of experimental theater in Latin America. Natalie Bell, Associate Curator at the New Museum, contributes an essay surveying selected bodies of work, and Kunsthalle Lissabon directors João Mourão and Luís Silva contribute an interview with the artist.

Accompanying her forthcoming New Museum solo exhibition, this book surveys the recent work of Turkish artist Asli Cavusoglu (born 1982), who works in media, including artists books, videos, photography and installations pursuing a commitment to exposing the untold histories and politics contained in objects, images and materials. Writer and curator Amy Zion contributes a monographic essay examining the prevailing concerns of Cavusoglu's practice, and artist Mariana Castillo-Deball reflects on shared interests in the social and political histories of pigment and the fields of archeology and science. Natalie Bell, Associate Curator at the New Museum, contributes an interview with the artist that explores her background and probes the philosophical and conceptual threads that run through her works.

The first monograph on artist and filmmaker Leslie Thornton: essential, foundational scholarship on her influential work in film and video.Produced on the occasion of a major solo exhibition of Leslie Thornton at the MIT List Visual Arts Center, as well as a recent solo exhibition at Kunstverein Nurnberg, this richly illustrated volume will be the first monograph on this important artist and filmmaker, and offers essential, foundational scholarship on Thornton’s influential work in film and video. Thornton’s early encounters with experimental, structuralist, and cinéma vérité traditions fueled her iconoclastic take on the moving image and gave shape to her practice of weaving together her own footage and voice with archival film and audio. In part through her forceful and dynamic use of sound, Thornton exposes the limits of language and vision in her works, while acknowledging the ways that language and vision nevertheless remain central to scientific discourse and narrative in general. Her work consistently interrogates modes of representation and the violence of looking, pushing beyond critiques of the gaze to consider biases in perception, or the way voice and sound can undermine an otherwise dominant visual narrative. Copublished with MIT List Visual Arts Center and Kunstverein Nürnberg