Manual / Issue 10 / Polychrome

Manual, a journal about art and its making. Polychrome. In art, especially, polychrome invites us to the dialogue that colors are always having amongst themselves. A history of polychrome could be a series of poems exchanged among colors. The exchange might exhibit something like perpetual newness, again and again revealing differently bent hues and movingly novel blends. It would be a short-line poetry, excruciatingly sensitive to tone. Its speakers would have no names, so it would confuse the psychology of human orientation. In this connection, a warning against rendering polychrome as a pure positive seems in order: the parties to this dialogue talk at cross-purposes, always on the brink of divorcing. Polychrome can offend and destroy. It conscripts discrete colors in order to sacrifice them. Does polychrome offend by mocking our own failure to connect? In any case, polychrome has an advanced idiom for dealing with conflict. It’s at home with uncertainty. —Darby English, from the introduction to Issue 10: Polychrome. Softcover, 80 pages. Published 2018 by the RISD Museum. Manual 10 (Polychrome) contributors include David Batchelor, Gina Borromeo, Nicole Buchanan, Catherine Cooper, Darby English, Mara L. Hermano, Elon Cook Lee, Josephine Lee, Evelyn Lincoln, Dominic Molon, Maureen C. O\u27Brien, RISD Museum 2017 Summer Teen Intensive Students, and Elizabeth A. Williams.https://digitalcommons.risd.edu/risdmuseum_journals/1036/thumbnail.jp

Manual / Issue 7 / Alchemy

Manual, a journal about art and its making. Alchemy. The seventh issue. Manual 7 (Alchemy) prompts the unexpected and emergent to manifest. To engage as an alchemist/artist is to be the perpetual student of the present moment, to synthesize culture, so-called science, and the implications of existential borders into a discipline that is repeatable, a practice. Art and alchemy are not singular, unified pursuits. Their practitioners are trans-disciplinary, disjointed, and solitary in their practice, and their labor and the ordering of their lives become porous, overlaid in the pursuit of other-than or beyond-dominant modes of understanding. Alchemy and art are not about finding resolution, but building the capacity for curiosity, formulating questions that invest fields of knowledge with possibility, prompting the unexpected and emergent to manifest. —Bryan McGovern Wilson, from the introduction to Issue 7: Alchemy Softcover, 76 pages. Published 2016 by the RISD Museum. Manual 7 (Alchemy) contributors include Markus Berger, Rachel Berwick, Stephen S. Bush, CA Conrad, Florence Friedman, Doreen Garner, Michael Grugl, Kate Irvin, Mimi Leveque, Dominic Molon, Douglas R. Nickel, Emily J. Peters, Elizabeth A. Williams, Bryan McGovern Wilson, and Diming Stella Zhong.https://digitalcommons.risd.edu/risdmuseum_journals/1033/thumbnail.jp

Manual / Issue 4 / Blue

Manual, a journal about art and its making. Blue.The fourth issue. Indigo blue, ultramarine blue, cobalt blue, cerulean blue, zaffre blue, indanthrone blue, phthalo blue, cyan blue, Han blue, French blue, Berlin blue, Prussian blue, Venetian blue, Dresden blue, Tiffany blue, Lanvin blue, Majorelle blue, International Klein Blue, Facebook blue. The names given to different shades of blue speak of plants, minerals, and modern chemistry; exoticism, global trade, and national pride; capitalist branding and pure invention. The fourth issue of Manual is a meditation on blue. From precious substance to controllable algorithm to the wide blue yonder, join us as we leap into the blue. Softcover, 64 pages. Published 2015 by the RISD Museum. Proceeds from RISD Museum publications support the work of the museum. Manual 4 (Blue) contributors include Lawrence Berman, A. Will Brown, Linda Catano, Spencer Fitch, Jessica Helfand, Kate Irvin, Oda van Maanen, Dominic Molon, Maggie Nelson, Ingrid A. Neuman, Margot Nishimura, Karen B. Schloss, Anna Strickland, Louis van Tilborgh, and Elizabeth A. Williams.https://digitalcommons.risd.edu/risdmuseum_journals/1003/thumbnail.jp

Manual / Issue 14 / Shadows

Manual, a journal about art and its making. Shadows. This anti-visibility is not the same as being invisible, rather it is the power to operate against systems of imperial domination, including the gaze. It asks: How do we force the gaze to surrender? What if explanation were off the table? By enabling a petit marronage that can be expressed in the visual and symbolic use of shadow, the gaze is challenged. This issue of Manual and the accompanying exhibition (opening at the RISD Museum Fall 2020) posit that the right to opacity de-burdens contemporary work by artists who identify as Black and/or queer and/or feminist and/or non-binary and/or OVER IT—whatever sociocultural constriction “it” signifies. Opacity extends to artists who are simply not interested in explaining themselves or offering the emotional labor that is expended for inclusion. This right says, “I have given enough.” It also legitimizes and reclaims the shadow as a place of refuge, instead of being a place from which to escape. –Anita N. Bateman The RISD Museum’s fourteenth issue of Manual shines a light on the shadow, centering the black body as a site of possibility, liberatory self-awareness, radical non-conformity, and joyful defiance. This issue serves as a companion to the exhibition Defying the Shadow. Manual 14: Shadows opens with an excerpt on the shadow from W. E. B. Du Bois’s The Souls of Black Folk, followed by an introduction by Dr. Anita N. Bateman, who elucidates: “Operating in the shadow comes with a legacy of resistance, both in spiritual and ideological forms.” Softcover, 108 pages. Published Fall/Winter 2020 by the RISD Museum. Manual 14 (Shadows) contributors include: Andrea Achi, Emanuel Admassu, Anita N. Bateman, Makeda Best, Gina Borromeo, Rashayla Marie Brown, Shuriya Davis, Akwaeke Emezi, Tayana Fincher, Melanee C. Harvey, Kate Irvin, Sade LaNay, Kelly Taylor Mitchell, Dominic Molon, Oluremi C. Onabanjo, Kevin Quashie, Matthew Shenoda, and Leslie Wilson. This issue complements the RISD Museum exhibition Defying the Shadow, curated by Dr. Anita N. Bateman.https://digitalcommons.risd.edu/risdmuseum_journals/1040/thumbnail.jp

Gillian Wearing : Mass Observation

This publication accompanies the exhibition Gillian Wearing : Mass Observation organized by the Museum of Contemporary Art, Chicago

Wolfgang Tillmans

"Few artists have changed the manner in which photographic images are made, read, and received over the past two decades as dramatically as German photographer Wolfgang Tillmans (b. 1968). One of the most important and distinctive artists to emerge in the 1990s, Tillmans’s work is internationally recognized for its powerful reflections on the often overlooked objects and moments in everyday life." -- page 9

Worldwide experience with a totally subcutaneous implantable defibrillator:early results from the EFFORTLESS S-ICD Registry

textabstractAims The totally subcutaneous implantable-defibrillator (S-ICD) is a new alternative to the conventional transveno