Text by Jonathan Crary, Russell Ferguson, Holly Myers.

Essay by Elizabeth A.T. Smith.

The definitive look at one of the most influential artists using photography today. German-born, American-based artist Uta Barth (b.1958) is among the key recent figures who have brought photography to the prominent position once occupied by painting. Her photographs of interior and exterior, urban and natural environments capture fleeting moments as if glimpsed out of the corner of one's eye, where we become aware of the beauty of everyday light, space, texture and luminous surfaces. Working in broad series, each body of work explores different details of our surroundings, such as the corner of a room (Ground #38, 1994), the headlights of a passing car (Field #3, 1995), bare trees seen through a window (white blind [bright red], 2002). A kind of 'portrait photography, but with the sitter removed', Barth's work focuses not on the subject of the photograph, but on the subtle play of light and shade on planes and surfaces: that is, the phenomena of vision itself.

This retrospective of the photographer Uta Barth traces her use of the camera to explore both how and what we see. Los Angeles–based contemporary artist Uta Barth (b. 1958) has spent her decades-long career exploring the complexities and limits of human and mechanical vision. At first, her photographs appear to be deceptively simple depictions of everyday objects—light filtering through a window, tree branches bereft of leaves, a sparsely appointed domestic interior—but these images, visually spare yet conceptually rigorous, emerge from her investigation of sight, perception, light, and time. In this richly illustrated monograph, curator Arpad Kovacs and contributors Lucy Gallun and Jeremy Gilbert-Rolfe chart Barth’s career path and discuss her most significant series, revealing how she has rejected the primacy of a traditional photographic subject and instead called attention to what is on the periphery. The book includes previously unpublished bodies of work made early in her career that add much to our understanding of this important artist. Also included is Barth’s most recent work, ...from dawn to dusk, an ambitious commission marking the twenty-fifth anniversary of the Getty Center.

In an accessible yet complex way, Rebekah Modrak and Bill Anthes explore photographic theory, history, and technique to bring photographic education up to date with contemporary photographic practice. --

Collects street photographs from noted photographers of cities around the world, from New York and Sao Paolo to Paris and Sydney.

Lisa Lyons, guest curator for Los Angeles's Getty Museum, chronicles a series of commissioned works in an array of media by eleven acclaimed artists in response to objects at the Getty. Fine bandw illustrations. Annotation copyrighted by Book News, Inc., Portland, OR

The book is not about works of art that simply document criminal acts. Rather, it is about a strain of art that presents the art object as a clue to absent meanings or actions.

A fascinating offshoot of minimalism, Light and Space art emerged in California in the 1970s and continues to be influential today. Another Minimalism traces the growth and development of the school, with its interest in site-specific installation, color, immateriality, and situationist and participatory art--all in all a very different kind of minimalism from the austere, mathematical abstractions that the term usually calls to mind. Looking at the work of major contemporary artists like Tacita Dean, Olafur Eliasson, Carol Bove, and Spencer Finch, Feldman rewrites the story of minimalism's impact on later artists, revealing the powerful but largely unrecognized influence of West Coast artists like Robert Irwin, James Turrell, and Maria Nordman. Richly illustrated, Another Minimalism offers a convincing new angle on the work and legacy of key twentieth-century artists.

* Chronicles the myth and relationships of the artists of the "Northwest School"