Osmos – förlag

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 non-artistic image production. This issue includes a feature by contributing editor Tom McDonough on photographer Eileen Quinlan, reportage by photographer Alex Welsh, an essay by Jeffrey Kirkwood describing his research on the innovative Swiss artist and filmmaker Klaus Lutz, and an examination of Paris-based Dove Allouche by curator Drew Sawyer.

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.

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 non-artistic image production. This issue, OSMOS Magazine #12, with a stunning cover by conceptual photographer Bing Wright, features an essay by Peter Weibel on interface technology in the film work of Kathryn Bigelow, a portfolio on Peter Funch, Simon Leung’s survey of recent work by Lincoln Tobier, and rare documentation about Ursula Block’s infamous record store and gallery, gelbe MUSIK, founded in 1981 as the Berlin outlet for experimental sound art and music.

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).

Internationally renowned artist and self-described "still-life photographer" Eileen Quinlan (born 1972) uses medium- and large-format analog cameras to create abstract photographs, working the film with steel wool or lengthy chemical processing. Among the subjects of her photographs are smoke, mirrors, Mylar, colored lights and other photographs. Featuring color reproductions and in-depth critical essays by Mark Godfrey and Tom McDonough, this book surveys Quinlan’s use of Polaroid film from 2006 to 2017. Initially used as a tool for proofing, Quinlan’s Polaroids can be seen as sketches, moments in which crucial formal and conceptual questions were explored and worked out. Moving through her extensive archive, one can find the origins of almost every larger body of work, as well as many ideas that remained in the repository, evidencing the artist’s desire to push beyond the constraints of her apparatus.

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

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

This issue of OSMOS features, among other artists, the work of Ramell Ross, director of the Academy Award–nominated film Nickel BoysFrom Cay Sophie Rabinowitz, former Senior Editor of Parkett and founder of Fantom, OSMOS is an "art magazine about the use and abuse of photography." Each issue 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 and curators 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 artist Matthew Brandt; an essay by curator Michal Nanoru on Czech painter Jakub Matuska; an intimate look at the work of RaMell Ross in Hale County, Alabama; and the first publication of long-lost images of the 1968 Russian invasion of Prague, shot on medium-format negatives by James P. Mayer.

Stefan Gronert on Gottfried Jäger, Tom McDonough on Eija-Liisa Ahtila and more essays on groundbreaking photography past and presentAn artist's magazine dedicated to photography, OSMOS 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 and curators 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 artist Joiri Minaya, essays by art historian Tom McDonough on a new work by Finnish artist Eija-Liisa Ahtila, and by Stefan Gronert on the pioneer of generative photography, Gottfried Jäger; a conversation between Austrian artist Stefanie Moshammer and curator Nadja von Buseck; a story by Tim Maul to accompany a photographic installation by Mac Adams; and a reportage in the form of a stereoscopic reimagining of a turn-of-the-century image atlas of the Holy Land by Alan Koppel.

New collages by Justine Kurland, long-form reports on New York communities, literary fiction and more in this issue of OSMOSAn "art magazine about the use and abuse of photography," OSMOS is divided into thematic sections: some traditional and others more idiosyncratic. This issue features a portfolio by Maureen Beitler about an unusual family in the Hudson Valley; essays by curator Marina Chao on new collages by Justine Kurland and by Ben Read on the poetic landscapes of South African photographer Ian van Coller; a long research report on the relationship between modernist architecture and personal health by architect Landon Brown; a reportage by Onaje Benjamin on the long-term work of SNUG, a community first response team responding to gun violence in Upstate New York neighborhoods; and a fiction text by Judith Zander responding to the photographs of ruins in former East Germany by Sven Gatter.

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.

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). Nourishing contemporary perspectives in photography and the visual arts, the issue delivers a unique view with content divided into recurring 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," about the side effects of nonartistic image production.

Osmos is "an art magazine about the use and abuse of photography," explains founder and editor Cay Sophie Rabinowitz (formerly of Parkett and Fantom). It is divided into recurring 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," about the side effects of nonartistic image production. This issue includes Tom McDonough’s essay on Share Corsaut, Anton Stankowski’s constructivist photographs and Prem Krishnamurthy’s survey of Klaus Wittkugel’s poster designs. The cover by Blaise Cepis announces his feature forthcoming in the following issue.

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,” about the side effects of nonartistic image production.This issue features Tom McDonough on Joy Episalla, a conversation with Gillian Wearing about her 20 years of making Polaroid self-portraits, an essay by Pavel VanDát on Jan Svoboda, Meleko Mokgosi, David Hart, Robert Rauschenberg, and a special vintage cover by Co Rentmeester.

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 non-artistic image production. This issue features Sarah Meister on Jan Groover, Helga Pakasaar on the Uno Langmann Family Collection’s photographic archive of turn-of-the-century British Columbia, AA Bronson, Josef Bauer, Janice Guy, Honza Zamojski, Eva Kot'átková, Brian DePinto, and Anna & Bernhardt Blume, all enclosed in Alex Welsh’s poignant cover, depicting residents of Fergusson, MO.

After cofounding Fantom in 2009 in Milan and New York, Cay Sophie Rabinowitz is continuing the endeavor by launching her magazine with the new name of Osmos. Osmos magazine focuses its editorial practice on texts and image series by practitioners and professionals investigating the uses and abuses of photography. Alongside more conventional genres, such as Essay, Interview, and Portfolio, Osmos frames some of its content in sectors, such as "Collections," about curatorial and archival practice; "Means to an End," about the side effects of non-artistic image production; and "Picture Perfect," where photography is implicit in the production of the featured work, but is not always the resulting final medium. One outstanding feature is the critical approach to the cover, which acknowledges the delayed effect of image capture or so-called "after image," by featuring an artist or work to be discussed in the following issue. With a radical blend of arresting images, print quality, and distinctive design, Osmos magazine is the most recognized publication in the market fostering contemporary perspectives in photography as the medium crossing all creative industries and practices--art, design, fashion and propaganda, aiming at the core of our imagination.

After cofounding Fantom in 2009 in Milan and New York, Cay Sophie Rabinowitz is continuing the endeavor by launching her magazine with the new name of Osmos. Osmos magazine focuses its editorial practice on texts and image series by practitioners and professionals investigating the uses and abuses of photography. Alongside more conventional genres, such as Essay, Interview, and Portfolio, Osmos frames some of its content in sectors, such as "Collections," about curatorial and archival practice; "Means to an End," about the side effects of non-artistic image production; and "Picture Perfect," where photography is implicit in the production of the featured work, but is not always the resulting final medium. One outstanding feature is the critical approach to the cover, which acknowledges the delayed effect of image capture or so-called "after image," by featuring an artist or work to be discussed in the following issue. With a radical blend of arresting images, print quality, and distinctive design, Osmos magazine is the most recognized publication in the market fostering contemporary perspectives in photography as the medium crossing all creative industries and practices--art, design, fashion and propaganda, aiming at the core of our imagination.

The Osmos brand was initiated 15 years ago with a project space in Berlin and has since developed into a fully integrated concept for curatorial and editorial activities. Currently, the Osmos address is located at 50 East 1st Street, in a Manhattan East Village storefront that was once a saloon frequented by Emma Goldman and other radicals. Former Parkett editor and Fantom cofounder Cay Sophie Rabinowitz launched Osmos Magazine as a journal of texts and image series created by practitioners and professionals investigating the uses and abuses of photography. One outstanding feature is a critical approach to the cover, which acknowledges the delayed effect of image capture or so-called "after image," by featuring an artist or work to be discussed in the following issue. With a radical blend of arresting images, print quality and distinctive design, Osmos Magazine is the most recognized publication in the market fostering contemporary perspectives in photography as the medium crossing all creative industries and practices-art, design, fashion and even advertising-at the core of our imagination. Current and forthcoming issues feature Erica Baum, Carolyn Drake, Richard Hamilton, Keizo Kitajima, Duane Michals, Elio Montinari, Anna Ostoya, Humphrey Spender and Christopher Williams, among others.

The Osmos brand was initiated 15 years ago with a project space in Berlin and has since developed into a fully integrated concept for curatorial and editorial activities. Currently, the Osmos address is located at 50 East 1st Street, in a Manhattan East Village storefront that was once a saloon frequented by Emma Goldman and other radicals. Former Parkett editor and Fantom cofounder Cay Sophie Rabinowitz launched Osmos Magazine as a journal of texts and image series created by practitioners and professionals investigating the uses and abuses of photography. One outstanding feature is a critical approach to the cover, which acknowledges the delayed effect of image capture or so-called "after image," by featuring an artist or work to be discussed in the following issue. With a radical blend of arresting images, print quality and distinctive design, Osmos Magazine is the most recognized publication in the market fostering contemporary perspectives in photography as the medium crossing all creative industries and practices-art, design, fashion and even advertising-at the core of our imagination. Current and forthcoming issues feature Erica Baum, Carolyn Drake, Richard Hamilton, Keizo Kitajima, Duane Michals, Elio Montinari, Anna Ostoya, Humphrey Spender and Christopher Williams, among others.

Nilbar Güres (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 Güres: 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, Güres 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.

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.

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). Nourishing contemporary perspectives in photography and the visual arts, and delivering a unique view with content divided into recurring 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," about the side effects of nonartistic image production. Contributors to this issue include Michael St. John, Stuart Ringholt, Azadeh Akhlaghi and Sam Samore, with a vintage Bruce Mozert image on the cover.

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 non-artistic image production. This issue features an essay by Tom McDonough on Raymond Boisjoly, a portfolio of images by Mishka Henner as introduced by Kenneth Goldsmith, an interview with David Ogburn by Leslie Hewitt, Isolde Brielmaier on artists engaging with migration and borders, a reportage from North Korea by Matthew Connors and a reflection on America’s most successful girl group, The Supremes, as performers who made themselves for and in broadcast media.

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). This issue features Marilyn Minter, artist Jill Magid on her ongoing engagement with the work of Alexander Calder, an essay by contributing editor Tom McDonough on Anne Collier, Drew Sawyer on Elle Pérez, Russian Ghanaian photographer Liz Johnson Artur's "beautiful moments of everyday black life around the world" and Dale Harding's murals created using a stencil technique practiced by the artist's ancestors: the Bidjara, Ghungalu and Garingbal peoples of Central Queensland, Australia. Cover by Corentin Grossmann.

Writings by Michael Asselin and Stephanie Cristello, an essay on Joanna Piotrowska, recent works by Onyedika Chuke and Neil Winokur, and more, in the latest issue of OsmosOSMOS 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 of OSMOS Magazine features recent works by New York–based Onyedika Chuke; an essay on the Polish artist Joanna Piotrowska; a reportage by Michael Asselin; Chicago-based art critic Stephanie Cristello on Kay Rosen’s videos from the 1990s; and a portfolio by New York–based photographer Neil Winokur.

Rare drawings by Fumio Yoshimura, paintings by Erik Schmidt and more, in the latest OSMOSFounder and editor of OSMOS Magazine Cay Sophie Rabinowitz (formerly of Parkett and Fantom) describes the publication as “an art magazine about the use and abuse of photography.” The magazine is divided into thematic sections—some traditional, and others more idiosyncratic.OSMOS Magazine issue 21 features an essay about the rare series of pen-and-ink drawings that Fumio Yoshimura created for a legal defense fundraiser he and Kate Millet organized when Peggy Dobbins was arrested at the 1968 Miss America pageant protest. The reportage is by Chris Jordan. Also included is a portfolio of recent paintings by Berlin-based artist Erik Schmidt; Drew Sawyer writes on Oren Pinhassi; and the cover features a detail from Camel Collective’s 2018 exhibition titled Grip.

The Osmos brand was initiated 15 years ago with a project space in Berlin, and since then, with Osmos Exhibitions, Osmos Books, Osmos Magazine and the Osmos Preserve Collection, it has developed into a fully integrated concept for curatorial and editorial activities. After cofounding Fantom in 2009 in Milan and New York, Cay Sophie Rabinowitz is continuing the editorial endeavor with Osmos Magazine, a journal of texts and image series by practitioners and professionals investigating the uses and abuses of photography. One outstanding feature is the critical approach to the cover, which acknowledges the delayed effect of image capture or so-called "after image," by featuring an artist or work to be discussed in the following issue. With a blend of arresting images, print quality and distinctive design, Osmos Magazine is among the most recognized photo journals.