Monographs & Art Books / A

111The highly acclaimed, definitive collection of Abbott's popular New York photographs. Berenice Abbott (1898-1991) was one of this century's greatest photographers, and her New York City images have come to define 1930's New York. The response to The New Press's landmark hardcover publication of Berenice Abbott: Changing New York was extraordinary. In addition to receiving rave reviews, it was chosen a best book of the year by the Wall Street Journal, Business Week, and New York Newsday, and was featured in Vanity Fair, Newsweek, and the New York Daily News. A midwesterner who came to New York in 1918, Abbott moved to Paris in 1921 and worked as Man Ray's photographic assistant. Inspired by French photographer Atget, Abbott returned to America in 1929 to photograph New York City. With the financial support of the Works Progress Administration's Federal Art Project from 1935 to 1939, she was able to realize her ambition to document a "changing New York," a project that remains the centerpiece of her career.

111Nearly 100 classic images by noted photographer: Rockefeller Center on the rise, Bowery restaurants, dramatic views of the City's bridges, Washington Square, old movie houses, rows of old tenements laced with laundry, Wall Street, Flatiron Building, waterfront, and many other landmarks.

Working closely with the family of a bulimia sufferer, Laia Abril shows us the dilemmas and struggles confronted by many young girls; the problems families face in dealing with their sense of guilt and the grieving process; the frustration of close friends and the dark ghosts of this deadliest of illnesses; all blended together in the bittersweet act of remembering a loved one.

263Photographing with the box camera his father had given him, Hector Acebes noticed as a teenager in the 1930s that his pictures of friends and family were consistently sharper and more carefully composed than those taken by his schoolmates. This innate talent, combined with solid training in engineering and an attraction to adventure, eventually grew into a long and productive career as a documentary and industrial filmmaker. It is Acebes' still photographs from his travels in the late 1940s and early 1950s throughout Africa and South American, however, that may become his most important legacy. With the respect they command for the individuals who appeared before his lens, these recently rediscovered images attest to Acebes' photographic gift. They offer a valuable resource for scholars and students of local societies and cultures in Africa and South America, yet their importance reverberates far beyond the classroom.

39All photographs in this book were taken in Benares between 1993 and 1997, apart from those on pages 77-87 which were taken during the "Ardh Kumb Mela" in Allahabad near Benares in January 1995.

39With 91 photographs by Ackerman. Illustrated throughout except for an interview with Ackerman and biography by Christan Caujolle und Gilou Gruiec. The text is in French.

39According to Denis Kambouchner's introduction, Half Life is a haunted book. It is certainly disturbing; in Michael Ackerman's world, something is disintegrating. The landscapes are harsh and unwelcoming, but it is the anguish of individuals that stirs us most deeply—their expressions of distress and confusion, their unfinished gestures, the sense of damage. These are people who appear to live in the ruins of a drama. It is as if their whole bodies were given over to a scream.

11Ansel Adams: 400 Photographs presents the full spectrum of Adams' work in a single volume for the first time, offering the largest available compilation from his legendary photographic career. The photographs are arranged chronologically into five major periods, from his first photographs made in Yosemite and the High Sierra in 1916 to his work in the National Parks in the 1940s up to his last important photographs from the 1960s. An introduction and brief essays on selected images provide information aboutAdams' life, document the evolution of his technique, and give voice to his artistic vision.

11With more than two hundred photographs - many rarely seen and some never before published - this is the most comprehensive collection of Ansel Adams' photographs of America's national parks and wilderness areas. For many people, Yosemite, Yellowstone, Glacier National Park, and other iconic American wildlands exist in the mind's eye as Ansel Adams photographs. The legendary photographer explored more than forty national parks in his lifetime, producing some of the most indelible images of the natural world ever made. One of the twentieth century's most ardent champions of the park and wilderness systems, Adams also helped preserve additional natural areas and protect existing ones through his photographs, essays, and letter-writing campaigns.

11This is an atrractively priced photography classic made accessible to a wider, new audience. It covers everything from "seeing" the finished photo in advance, to lens choices. It is illustrated with many of Ansel Adams most famous images.

11The early chapters are devoted to a discussion of light, film and exposure. What follows is a detailed discussion of the zone system, chapters on natural and artificial light and at the end is an extensive chapter on the darkroom and its equipment. A master-class kind of guide from an undisputed master. PUBLISHERS WEEKLY Adams is a clear-thinking writer whose concepts cannot but help the serious photographer. NEW YORK TIMES

11Yosemite National Park and the High Sierra were the places closest to Ansel Adams' heart, and this magnificent new collection presents the finest selction of his photographs and writings yet published on this "vast edifice of stone and space." Inspired by their grandeur, their wildness, and their primeval mystery, Adams' photos came to represent America's National Parks. During his lifetime Adams published seven books of images from this region; this new book brings the best of these early volumes together into a single work. His writings - alive with anecdote and insight - provide a backdrop for these stirring images, and an introduction by John Szarkowski, the most distinguished photography critic and curator of his time, provides testimony to the enduring impact of Adams' Yosemite vision. Yosemite and the High Sierra represents Adams' legacy at its most distilled and timeless.

216In November 2003, musician and photographer Bryan Adams began photographing a cross section of influential American women dressed in Calvin Klein. Shot mainly in New York and Los Angeles throughout 2004, American Women is a tribute to the beauty, strength, and character of American women. Actors, journalists, musicians, artists, businesswomen, athletes, and philanthropists are included-the binding theme being that they are all American women known for excelling in their field. Proceeds from American Women will support breast cancer research programs at Memorial Sloan-Kettering Cancer Center through The Society of MSKCC. Hillary Rodham Clinton, Katie Couric, Jennifer Aniston, Gwyneth Paltrow, Scarlett Johansson, Hilary Swank, Serena Williams, Venus Williams, Lindsay Lohan, Christie Brinkley, Sarah Jessica Parker, Eartha Kitt, Aerin Lauder Zinterhofer, Nan Kempner, Paula Zahn, Cindy Crawford, Alice Sebold, Amber Valletta, Katie Holmes, Eve Ensler, and Lauren Hutton are just a few of the women Adams selected from among America's most notable women, all lovingly and glamorously captured by the camera of a rising star in the field. Produced in close collaboration with Calvin Klein, Inc., American Women is Adams' third book presenting portraits of important women.

216In the late nineties Bryan Adams became curious about making photographic self-portraits for his album covers, and so chose to pick up the camera himself. That serendipitous decision was the beginning of a successful photographic, parallel to Adams' impressive achievements as a singer, songwriter and producer. Exposed is a retrospective of Adams' photography and features portraits of friends and colleagues in the entertainment, fashion and art industries, including Morrissey, Ben Kingsley, Amy Winehouse, Michael Jackson, Louise Bourgeois, Lindsay Lohan and Judi Dench. This book, Adams' first comprehensive monograph, "exposes" not only unknown facets of his subjects but also the depth of Adams' photographic faculty.

414With Light Balances, Robert Adams (born 1937) delves into the endless permutations of rhythm and contrast that take place between sunlight and trees. Photographing in a protected forest around the Columbia River estuary near the town of Astoria, Oregon, where he has lived since 1997, Adams undertook a study of the area that is Cézanne-like in its single-minded attention to nature's minute shifts and variations. These 59 black-and-white photographs, made between 2005 and 2011, revel in the interplay of sunlight and leaves, branches, trunks, grass and the dirt of the forest floor, attaining a rich variety of texture and pattern that is at once filled with specificities and diffusely abstract. Published concurrently with Adams' international touring retrospective, this beautifully produced volume shows a master photographer eliciting marvelous subtleties from the landscape of the Northwest.

414Since the 1970s, photographer Robert Adams (b. 1937) has chronicled the changing landscape of the American West, from the growth of cities like Denver to the seemingly unconquerable openness of the Great Plains-the subject of Adams's Prairie. The first edition of Prairie, published in 1978, is now a sought'after collector's item; this expanded volume will include all of those original images, along with new photographs selected and sequenced by Adams himself, many of which are being published for the first time.

414A Road Through Shore Pine focuses on a series of 18 never-before-seen photographs by Robert Adams (born 1937), taken in Nehalem Bay State Park, Oregon, in the fall of 2013. Adams documents a contemplative journey, made first by automobile, then by foot, along an isolated, tree-bordered road to the sea. As presented through Adams' 11 x 14-inch prints, the passage takes on the quality of metaphor, suggestive of life's most meaningful journeys, especially its final ones. For this group of photographs, all of which were printed by Adams himself, the artist returned to the use of a medium-format camera, allowing the depiction of an intense amount of detail. Through experience gathered over more than four decades, Adams' trees, especially the tips of their leaves, are etched with singular sensitivity to the subtleties and meanings of light. Adams writes of these photographs: "The road is one that my family traveled often and fondly. Many of its members are gone now, and Kerstin and I visit the road for the example of the trees." Adams had stored this work in an archival print box on which he inscribed in pencil a line from the journal of the Greek poet George Seferis: "A marvelous road, enough to make you weep; pine trees, pine trees ."

414Skogen is the Swedish word for forest, and while the dense woods featured in Robert Adams's most recent series of photographs grow near his home in Oregon, the pictures evoke a wild utopia, and convey a hushed, primeval awe. In this volume, the latest to document Adams's ongoing quest to find form amid the chaos of nature, shadows predominate, tempered by an ambiguous light that is unique to the Pacific Northwest. Skogen features forty-six previously unpublished images, a body of work that is among the most pictorially complex of Adams's distinguished career. Also included are an introduction by the artist and a poem by the acclaimed poet Denise Levertov. This pairing is meaningful; as Michael Fried wrote in Bookforum, "Adams's artistic ideal...has much in common with that of a certain sort of lyric poem, one that similarly has not the slightest room for carelessness of any sort."

414A major new work, Tenancy is comprised of 42 photographs by Robert Adams (born 1937) made in Nehalem Bay State Park, Oregon, between 2013 and 2015, with short texts by the artist. The book’s theme of tenancy expresses the idea of “temporary possession of what belongs to another”―specifically, the natural environment. Adams’ recent photographs of the landscape reference the current and imminent threats of clearcutting, environmental degradation and natural disasters along the Northwestern coast of the US. The black-and-white photographs include poignant images of massive tree stumps on the beach―a product of the cutting of first and early second growth―as well as shimmering stretches of coastline protected for endangered birds previously thought to have abandoned northern Oregon.

414Originally published in 1974, Robert Adams' The New West signaled a paradigm shift in the photographic representation of American landscapes. Foregoing photography's traditional role of romanticizing the Western landscape, Adams focused instead on the construction of tract and mobile homes, subdivisions, shopping centers and urban sprawl in the suburbs of Colorado Springs and the Denver area. Adams transmuted these zones with his minimalist vision of their austerity; as he has noted, "no place is boring, if you've had a good night's sleep and have a pocket full of unexposed film." Objective and direct, Adams' photographs, rendered in his signature middle-gray scale, unsentimentally depict a despoiled landscape washed in the intense Colorado sunlight. Today The New West stands alongside Walker Evans' American Photographs, Robert Frank's The Americans and Stephen Shore's Uncommon Places in the pantheon of landmark projects on American culture and society. This second reissue of the classic publication has been recreated from Adams' original prints, and will be released ahead of a major traveling exhibition that will launch in 2010. Foreword by John Szarkowski.

414The Place We Live traces Robert Adams' deep engagement with the geography of the American West, weaving together various aspects of over four decades of work into a cohesive, epic narrative of the American experience. Taken as a whole, this publication elucidates the photographer's civic goals: to consider the privilege of the place we were given and the obligations of citizenship. Printed with an unprecedented fidelity to the photographer's original prints, volumes one and two reflect Adams' exacting, compelling sequence of nearly 400 plates and bring together texts written by the photographer to accompany his photographic projects. Volume three offers a detailed chronology of Adams' life, an illustrated bibliography of his monographs, selections from his personal archive, and a series of critical essays on his work by Joshua Chuang, Tod Papageorge, Jock Reynolds and John Szarkowski.

414Since taking up photography in the mid-1960s, Robert Adams (born 1937) has quietly become one of the most influential chroniclers of the evolving American landscape. Carefully edited by Adams from a remarkable body of work that spans over four decades, What Can We Believe Where? Photographs of the American West, 1965-2005 presents a narrative sequence of more than 100 tritone images that reveals a steadfast concern for mankind's increasingly tragic relationship with the natural world. Adams's understated yet arresting pictures of the vast Colorado plains, the rapid suburbanization of the Denver and Colorado Springs areas, and the ecological devastation of the Pacific Northwest region of the United States register with subtle precision the complex and often fragile beauty of the scenes they depict. The most accessible collection of Adams's work to date, this compact and thought-provoking volume is an essential addition to the bookshelves of students, photographers, and anyone interested in the recent history of the American West and its wider implications.

915"An original and compelling memoir: the images are not merely illustration, but participate in an expression greater than the sum of its parts. Kitsch figurines, meant to charm, are here like clowns gone to seed or Pygmalion figures raised above their station, staged in tableaux full of longing, love, desperation, fear, menace, and strange beauty - not just deepening the impact of the stories, but somehow indivisible from them." Stephen Woodhall, Collections Specialist, The Achenbach Foundation for Graphic Arts, Fine Arts Museums of San Francisco.

915A Memoir told through photography and jewelry design by an artist obsessed with recasting found objects and first-person experiences.

143Manuel Alvarez Bravo began photographing in 1924 during Mexico's thriving post-revolutionary artistic renaissance. While his early work embraced Mexico's urban realities, its peasants and workers, and its hauntingly beautiful landscape, Alvarez Bravo's ever-present acknowledgment of the macabre prompted André Breton, the leader of Surrealism in France, to claim him as an exponent of the movement. This volume offers a perfect introduction to his works.

143Manuel Alvarez Bravo was one of the foremost practitioners of visual arts in the twentieth century. Manuel Alvarez Bravo, the first major retrospective of his eighty-year career, showcases hundreds of iconic photographs and unveils more than twenty previously unpublished images. Featuring landscapes, still lifes, rural and urban scenes, religious and vernacular subjects, as well as portraits of luminaries such as Diego Rivera, Frida Kahlo, Carlos Fuentes, and Octavio Paz, the work is chronologically arranged and richly varied. Three illuminating essays reveal the poetry of Bravo's photographsfrom his use of light and form to his fascination with dreams and his preoccupation with death. This definitive monograph is a powerful tribute to Mexico's most distinguished photographer.

144This first comprehensive monograph in English for Mexico's first major woman photographer tracks a career equally exceptional for its remarkable range and for its compelling quality. Lola Alvarez Bravo explored her calling through photojournalism, commercial work and professional portrait-making, even as she was creating intensely personal images of people, places and things throughout her native Mexico. In addition, she played a vital role in the Mexican cultural scene as an inspiring teacher, a friend of innumerable artists (many of whom she photographed), and as the owner of a prestigious gallery that presented the first solo show by her friend Frida Kahlo, the subject of some of Alvarez Bravo's most powerful portraits. Although some of her photographs reflect the influence of her husband, Manuel Alvarez Bravo--they shared the same cameras and often the same roll of film--Lola had achieved her own aesthetic by the 1940s and 50s, concentrating on two particularly vivid bodies of work, portraiture and street photography. In these two disciplines she found a way to reveal a lyricism in the world around her, producing quiet reveries on life lived in the moment. This first English-language book to encompass the full range of her work includes previously unpublished images and several of her little-known photomontages.

144Lola Álvarez Bravo was a pioneer of photomontage and a leading figure--along with Frida Kahlo, Tina Modotti, Diego Rivera and others--in Mexico's post-revolution cultural renaissance. Lola Álvarez Bravo and the Photography of an Era accompanies a touring exhibition presented at the Museo Casa Estudio Diego Rivera y Frida Kahlo in Mexico City, the Museum of Latin American Art in Long Beach, California and the Center for Creative Photography at the University of Tucson in Arizona, home of Álvarez Bravo's archives. It gathers 100 photographs and includes her well-known portraits of Kahlo and Rivera as well as photographs only recently discovered in the González Rendón archive. The selection not only demonstrates the great richness of the material contained in the archive, but also throws new light on Álvarez Bravo's working methods and provides a deeper understanding of the complexity of her career. The photographs convey her uses of Surrealism and photomontage (many examples of which are published here for the first time), as well as her mastery of various genres, from portraits of famous intellectuals and close friends to documentary images of urban and rural poverty in Mexico.

143With a career that spans nearly eighty years, Manuel Alvarez Bravo has long been recognized as one of the foremost figures in the history of photography and one of the great Mexican artists of the twentieth century. Manuel Álvarez Bravo, a pioneer of art photography in Mexico, is a cornerstone of Mexican culture and twentieth-century Latin-American photography. His work ranges from late 1920 to the 90s. Álvarez Bravo's artistic identity is inextricably linked to the history of his country and the creation of Mexican identity after the revolution of 1910. Thus, his work can be understood both as a reflection of the extraordinary variety of cultures in Mexico as an eccentric drift of surreal avante-garde.

965Photographer and life-long Tottenham Hotspur fan, Martin Andersen has turned his camera on his fellow fans to create 'Can't Smile Without You', an intimate and often visceral collection of photographs taken at home, away, and across Europe from 2013 until 2017 with the last game played at the White Hart Lane stadium. Selected and edited from over one hundred different games, Andersen presents an authentic and unflinching documentation of the fans and their resultant relationships and community. His imagery depicts the drama, tensions, and raw emotions involved in such unwavering support of a football team that infiltrates every part of life.
Capturing a rapidly changing culture and a unique moment in Tottenham Hotspur's history following the demolition of the 118 year-old stadium at White Hart Lane at the end of the 2016/17 season, the monochrome images in 'Can't Smile Without You' also have a timeless quality that transcends the recent era they were taken in. These could be images of any diehard football fans and of the associated rituals, pre and post match, that are an integral part of being one.
In addition to the 119 photographs that were edited and graded by acclaimed photographer Kim Thue, 'Can't Smile Without You' features texts by lifelong Tottenham fans Joe Kerr, a writer and bus driver at Tottenham Garage, and Felix Petty, Editor at i-D Magazine.

298New York–based Magnum photographer Christopher Anderson (born 1970) captures portraits, candid moments and still lifes throughout the United States, France, Italy, Spain and Germany. Bleu Blanc Rouge presents Anderson’s playful series of color photographs in a magazine-like style, allowing readers to locate recurring visual elements.

298Capitolio is New York documentary photographer Christopher Anderson's cinematic journey through the upheavals of contemporary Caracas, Venezuela, in the tradition of such earlier projects as William Klein's New York (1954-55) and Robert Frank's The Americans (1958). It presents a poetic and politicized vision, by one of today's finest documentary photographers, of a city and a country that is ripping apart at the seams under the stress of popular unrest, and whose turmoil remains largely unreported by Western media. No stranger to such fraught situations (he covered the 2006 conflict between Hezbollah and Israel from its inception), Anderson notates the country's current incongruities, where the violent and the sensual intermingle chaotically. "The word 'capitolio' refers to the domed building that houses a government," writes Anderson, elaborating on the title of this volume; "here, the city of Caracas, Venezuela, is itself a metaphorical capitolio building. The decaying Modernist architecture, with a jungle growing through the cracks, becomes the walls of this building and the violent streets become the corridors where the human drama plays itself out in what President Hugo Chavez called a 'revolution.'"

Kicking Sawdust is a series of photos taken from 1988-1992 while on the road with the circus, carnival, sideshows. It is a personal documentation of friends and people Clayton Anderson encountered in his daily life while working and traveling in his family's food business. Shot on black and white film and developed by author while on the road, after hours.

298With this book, Magnum photographer Christopher Anderson, renowned for his documentary work from conflict zones all over the world, presents a very personal body of work: "These photographs are an organic response to an experience that is at the same time the most unique and the most universal of experiences: the birth of a child. . . . Through my son, my role as the son took on new meaning and my senses were hypertuned to the evidence of my own life passing."

298As one of today’s most influential political photographers, Christopher Anderson has enjoyed rare behind-the-scenes access to the inner workings of American political theater. Stump collects his color and black-and-white photographs from recent campaign trails--particularly from the 2012 Obama/Romney contest--that scrutinize the highly rehearsed rhetorical masks of, among others, Barack and Michelle Obama, Mitt Romney, Paul Ryan, Newt Gingrich, Bill Clinton and others (including audience members at rallies). Removed from the context of reportage and sequenced here, these images accumulate a mesmerizing quality that is both frightening and hilarious. They are interspersed with other campaign-trail images, of fireworks, flags and other props of high pomp that attend such occasions. John Heilemann, author of the New York Times bestseller Game Change (on the 2008 presidential race), contributes an essay on Anderson's work.

363The series "[hyphen] Americans" by photographer Keliy Anderson-Staley features stunning tintype portraits. The title speaks to the multicultural character of American identities (Irish-American, African-American, etc.). Although a person's heritage might be inferred by looking at their features and clothing, viewers of Anderson-Staley's work are encouraged to, according to the artist, "suspend the kind of thinking that would traditionally assist in decoding these images in the context of American identity politics." Anderson-Staley makes portraits with the nineteenth-century wet-plate collodion process. She uses wooden view cameras, nineteenth-century brass lenses and chemicals she hand-mixes according to the traditional formulas. In this series she focuses on just one plane in the face--usually just the eyes. The exposures are long, lasting anywhere from ten to sixty seconds, so the images capture a full moment of thought. Because of these characteristics of the process, there is an introspective quality to each portrait, as if each person has been caught looking at him or herself in a mirror. According to the artist, "There are so many technical variables in the process, and there can be flaws and defects that enter the image at every stage of the process, and in many ways this makes it a perfect vehicle for portraits - it is truer to the reality of human imperfection. My images are titled only with the first name of the individual, and I very deliberately try not to draw attention to differences like race, because I want to challenge photography's role in defining difference. At the same time, I want every person I photograph to stand out very sharply as an individual, to be defined as much as possible by the expression on their face." This catalogue includes essays by Jeffrey Hoone.

363These Maine houses, photographed beautifully by Keliy Anderson-Staley may not represent high end design, but they are still incredibly inspiring — they are all homes to families living off the grid without electricity (except what is generated by the sun), plumbing or phones. The artist herself grew up in one of these cabins in Maine and the images document a radically different (at least to us city dwellers) way of life, but one that isn’t without its charms. I’ve certainly dreamed, from time to time, of packing it all up and leaving the modern world for awhile. Anderson-Staley’s photographs lovingly portray these families for whom, she says in her statement, "their home is their masterpiece."

Source: www.apartmenttherapy.com

490SEAS WITHOUT A SHORE is a magical, mysterious photography book of tintypes, portraits, still lifes and seascapes. The photographs for this book have evolved into a series of images involving fictional narratives, replete with absurdity and hilarity, and doubling as a cautionary tale. Drawing attention to the bizarre and the banal, the resulting images are portraits on the border between documentary and fiction, imagining characters that, much like our selves, are forever a mystery. The scenarios document a species as seen everyday through the eyes of the artist, with the writings of Edgar Allan Poe serving as a beacon of light and a source of inspiration. Mask-making, sculpture, and costume design is a colossally important part of the process, defining the unique and demented little world Anthony lives and shoots in.

The mysteries of the sea figure greatly in these pictures with a crescendo of color images depicting survivors braving waves and currents, perhaps the result of a future world where ocean tides will wash away the planet's coastlines. The photographs are made with a 4x5 large format camera and most of the images are photographed with 150 year old lenses with color film or using the collodion wet plate technique which is a beautiful photographic process that was invented in the mid 19th century and still to this day has passionate practitioners all around the world.

55Decades’ worth of images have been distilled down to 568 pages of photographs in this ultimate retrospective collection of Nobuyoshi Araki's work, selected by the artist himself. First published as a limited edition and now available as a standard TASCHEN edition, the curation delves deep into Araki's best-known imagery: Tokyo street scenes; faces and foods; colorful, sensual flowers; female genitalia; and the Japanese art of kinbaku, or bondage. As girls lay bound but defiant and glistening petals assume suggestive shapes, Araki plays constantly with patterns of subjugation and emancipation, death and desire and with the slippage between serene image and shock. Describing his bondage photographs as a ‘a collaboration between the subject and the photographer’, Araki seeks to come closer to his female subjects through photography, emphasizing the role of spoken conversation between himself and the model. In his native Japan, he has attained cult status for many women who feel liberated by his readiness to photograph the expression of their desire.

55Japan's most famous photographer, and one of photography's most prolific bookmakers, Nobuyoshi Araki is notorious for his erotic photographs of women in bondage. Japanese bondage, which differs from western bondage in its orchestration of knots and binding to arouse specific points upon the body, offers visual as well as erotic rewards that Araki has scrutinized with great zeal. Araki is able to bestow eroticism upon all manner of natural imagery, but is also celebrated for series such as Sentimental Journey and Winter Journey, which record his marriage and the death of his wife. Driven by an attraction to the uncensored facts of Eros and Thanatos, Araki has always made humanity the center of his concerns; but at several junctures in his career, the authorities have evinced indifference to such motives, removing his work from sale and arresting curators for exhibiting his work. Nonetheless, the craft of Araki's photography is not in doubt, and in recent years, his work has expanded to accommodate broader aspirations, inflected by age: "When I photograph unhappiness I only capture unhappiness," he told Nan Goldin in an interview, "but when I photograph happiness, life, death and everything else comes through." With over 300 photographs, this monumental survey provides a careful selection from his most important photographic cycles, from Satchin and Sentimental Journey to Winter Journey, Cityscapes Polart, Sensual Flowers, Bondage and others, to his most recent works.

55Nobuyoshi Araki is arguably Japan's greatest living photographer, and certainly its most controversial. The more than 300 books he has published over the last four decades attest to his inexhaustible creative energy, while his work, which often challenges social taboos surrounding sex and death, has drawn critical attention both at home and abroad. This new abridged edition of Phaidon's highly acclaimed Self, Life, Death, includes the finest and most iconic images from throughout Araki's career, all presented in a beautiful, expanded format that allows the pictures room to breathe. This accessible and affordable format will bring a new audience of students and photography enthusiasts to the work of this influential photographer.

55It started in 1978 with an ordinary coffee shop near Kyoto. Word spread that the waitresses wore no panties under their miniskirts. Similar establishments popped up across the country. Men waited in line outside to pay three times the usual coffee price just to be served by a panty-free young woman. Within a few years, a new craze took hold: the no-panties "massage" parlor. Increasingly bizarre services followed, from fondling clients through holes in coffins to commuter-train fetishists. One particularly popular destination was a Tokyo club called "Lucky Hole"” where clients stood on one side of a plywood partition, a hostess on the other. In between them was a hole big enough for a certain part of the male anatomy. Taking the Lucky Hole as his title, Nobuyoshi Araki captures Japan's sex industry in full flower, documenting in more than 800 photos the pleasure-seekers and providers of Tokyo"s Shinjuku neighborhood before the February 1985 New Amusement Business Control and Improvement Act put a stop to many of the country's sex locales. Through mirrored walls, bed sheets, the bondage and the orgies, this is the last word on an age of bacchanalia, infused with moments of humor, precise poetry, and questioning interjections.

3When Diane Arbus died in 1971 at the age of 48, she was already a significant influence--even something of a legend--for serious photographers, although only a relatively small number of her most important pictures were widely known at the time. The publication of Diane Arbus: An Aperture Monograph in 1972--along with a posthumous retrospective at The Museum of Modern Art--offered the general public its first encounter with the breadth and power of her achievements. The response was unprecedented. The monograph, composed of 80 photographs, was edited and designed by the painter Marvin Israel, Diane Arbus' friend and colleague, and by her daughter Doon Arbus. Their goal in producing the book was to remain as faithful as possible to the standards by which Arbus judged her own work and to the ways in which she hoped it would be seen. Universally acknowledged as a photobook classic, Diane Arbus: An Aperture Monograph is a timeless masterpiece with editions in five languages, and remains the foundation of her international reputation. Nearly half a century has done nothing to diminish the riveting impact of these pictures or the controversy they inspire. This is the first edition in which the image separations were created digitally; the files have been specially prepared by Robert J. Hennessy using prints by Neil Selkirk.

3In 1967, The Museum of Modern Art presented New Documents, a landmark exhibition organized by John Szarkowski that brought together a selection of works by three photographers whose individual achievements signaled the artistic potential for the medium in the 1960s and beyond: Diane Arbus, Lee Friedlander and Garry Winogrand. Though largely unknown at the time, these three photographers are now universally acknowledged as artists of singular talent within the history of photography. The exhibition articulated a profound shift in the landscape of 20th-century photography, and interest in the exhibition has only continued to expand. Yet, until now, there has been no publication that captures its content. Published in celebration of the 50th anniversary of the exhibition, Arbus Friedlander Winogrand features full-page reproductions of the 94 photographs included in the exhibition, along with Szarkowski’s original wall text, press release, installation views and an abundance of archival material. Essays by curator Sarah Hermanson Meister and critic Max Kozloff, who originally reviewed the exhibition for The Nation in 1967, critically situate the exhibition and its reception, and examine its lasting influence on the field of photography.

3Diane Arbus Revelations affords the first opportunity to explore the origins, scope, and aspirations of what is a wholly original force in photography. Arbus's frank treatment of her subjects and her faith in the intrinsic power of the medium have produced a body of work that is often shocking in its purity, in its steadfast celebration of things as they are. Presenting many of her lesser-known or previously unpublished photographs in the context of the iconic images reveals a subtle yet persistent view of the world. The book reproduces two hundred full-page duotones of Diane Arbus photographs spanning her entire career, many of them never before seen. It also includes an essay, "The Question of Belief," by Sandra S. Phillips, senior curator of photography at the San Francisco Museum of Modern Art, and "In the Darkroom," a discussion of Arbus's printing techniques by Neil Selkirk, the only person authorized to print her photographs since her death. A 104-page Chronology by Elisabeth Sussman, guest curator of the San Francisco Museum of Modern Art show, and Doon Arbus, the artist's eldest daughter, illustrated by more than three hundred additional images and composed mainly of previously unpublished excerpts from the artist's letters, notebooks, and other writings, amounts to a kind of autobiography. An Afterword by Doon Arbus precedes biographical entries on the photographer's friends and colleagues by Jeff L. Rosenheim, associate curator of photographs at The Metropolitan Museum of Art. These texts help illuminate the meaning of Diane Arbus's controversial and astonishing vision.

3Untitled is the only volume of Diane Arbus' work devoted exclusively to a single project. The photographs were taken at residences for the mentally retarded between 1969 and 1971, in the last years of Arbus' life. Although she considered making a book on the subject, the vast majority of these pictures have remained unpublished until now. These photographs achieve a lyricism and an emotional purity that sets them apart from all her other accomplishments: "Finally what I've been searching for," she wrote at the time. The product of her consistently unflinching regard for reality as she found it, Untitled may well be Arbus' most transcendent, most romantic vision. It is a celebration of the singularity and connectedness of each and every one of us, and demands of us what it demanded of her: the courage to see things as they are and the grace to permit them to simply be. For Diane Arbus, this is what making pictures was all about. Untitled includes an afterword by Doon Arbus, the photographer's daughter, who writes that the intent of these works "wasn't about who or what she saw, but about the experience of seeing it and the power of her photographs to make that experience visible."

1035Since the mid-nineties settlements bordering on rubbish dumps in the major capitals of Central America and Caribean have experienced a radical transformation. Now a days there are numerous families living in the recycling of waste in these macrociudades of disposable plastic or glass, their economic survival depends on it. Neighborhoods such as La Esperanza in Guatemala, La Duquesa on the Dominican Republic or in Managua Acahualinca fairly communities adapted to the collection of waste in landfills. This essay shows how and where they live hundreds of people in Latin America whose work is not the collection of organic waste.

1035In this new PHotoBolsillo volume, Spanish photojournalist and psychologist Javier Arcenillas captures the pain and desperation of those who suffer from violence every day, either directly or indirectly. He has worked on photo essays in Honduras, Cuba, Jamaica, the United States and elsewhere.

1035"Sicarios: Latin American Assassins" was published as the winner of the 2011 FotoEvidence Book Award, recognizing a photographer whose work demonstrates courage and commitment in the pursuit of social justice. "Sicarios: Latin American Assassins" takes the viewer into the underworld of the assassin in Guatemala, where society has been savaged by a culture of murder for hire. Vendors who don't like competitors can have them killed for less than $50. Hit men operate with impunity in a country where ninety-five percent of murders remain unsolved. Javier Arcenillas comes face to face with several young assassins, the bodies they leave in their wake, and the people who struggle with the consequences. "Sicarios" is bilingual, in Spanish and English, with 100 black and white photographs and a forward by Juan Luis Font, Director of El Periodico de Guatemala, the largest newspaper in Guatemala.

1035UFO Presences explores the places where UFO sightings have taken place across America: in California, Arizona, New Mexico, Texas, and of course the infamous Area 51, along South Central Nevada's State Route 375―the so-called Extraterrestrial Highway, where so many travelers have reported UFO observations and other bizarre alien activities. Spanish photographer Javier Arcenillas (born 1973) has diligently photographed these locations, and sequenced them in this book as a visual road trip, mixing his photographs with news clippings and other relevant ephemera.

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69Eve Arnold didn't even consider photography until a boyfriend gave her a Rolleicord when she was 34. But her talent and daring brought her immediate recognition and she was picked up by Magnum Photos only 5 years later. Arnold may be best known for her black and white images of Marilyn Monroe, but she has chronicled figures as diverse as migrant potato workers and heads of state in addition to screen icons during her assignments, which involved everything from politics, social issues, travel, to current events and a little glamour. Guided by her own words, this volume features Arnold's now iconic photographs as well as many never-before published images.

366The result of a five-year airborne odyssey across five continents and 60 countries, Earth from Above is the most revealing and spectacular portrait of our world ever created. From a heart-shaped mangrove forest in New Caledonia to a flock of red ibises in Venezuela, from a caravan of camels in Mauritania to Mt. Everest and Mammoth Hot Springs, renowned aerial photographer Yann Arthus-Bertrand presents striking color images that put our home planet in a whole new perspective. Produced under the sponsorship of UNESCO, the book is also a documentary record of the state of the world's fragile environment.

This vibrant new edition of the internationally acclaimed original features an updated design and nearly 60 stunning new photographs. All new captions and the addition of authoritative new texts by experts in various environmental fields illuminate Arthus-Bertrand's monumental achievement.

366Over the past three years, Yann Arthus-Bertrand and the GoodPlanet Foundation have gathered more than 2,000 interviews in 70 countries, while capturing portraits and aerial photographs. Human explores fundamental themes-Justice, Tolerance, Poverty, War, Happiness, and more-and each chapter includes excerpts from interviews and essays written by eminent journalists and human rights activists. The book will launch simultaneously with the movie, which will be distributed worldwide for free, with screenings at the United Nations in New York as well as in major international cities. With its collection of inspiring, spectacular images, allied to the unforgettable testimonies of mankind-Human is a landmark achievement in documentary film and book publishing, a compelling portrait of humanity at the beginning of the 21st century.

116Eugène Atget (1857-1927) devoted more than 30 years of his life to a rigorous documentation of Paris, its environs and the French countryside, through more than 8,000 photographs. Atget died almost unknown in 1927, although groups of his prints were included in various Paris archives. In 1925 Berenice Abbott discovered his work, and after his death she arranged to buy his archives with the help of art dealer Julien Levy; in 1968 that collection was purchased by The Museum of Modern Art. Originally published in 2000 and long unavailable, this classic, superbly produced volume surveys the collection through 100 carefully selected photographs. John Szarkowski, head of MoMA's Department of Photography from 1962 to 1991, explores the unique sensibilities that made Atget one of the greatest artists of the twentieth century and a vital influence on the development of modern and contemporary photography. An introductory text and commentaries on Atget's photographs form an extended essay on the remarkable visual intelligence displayed in these subtle, sometimes enigmatic photographs.

116Eugène Atget roamed the streets with his bulky large format camera, systematically cataloguing turn-of-the-century Old Paris down to the very smallest details. His skilled, wonderfully atmospheric photos of Paris' parks, buildings, streets, store windows, prostitutes, workers, and even door handles are a joy to behold.

116Between 1888 and 1927 Eugène Atget meticulously photographed Paris and its environments, capturing in thousands of photographs the city’s parks, streets, and buildings as well as its diverse inhabitants. Christopher Rauschenberg spent a year in the late 90s revisiting and re-photographing many of Atget’s locations. Paris Changing features seventy-four pairs of images beautifully reproduced in duotone. Each site is indicated on a map of the city, inviting readers to follow in the steps of Atget and Rauschenberg themselves. The book concludes with essays by Clark Worswick and Alison Nordstrom, an epilogue by Rosamond Bernier as well as a portfolio of other images of contemporary Paris by Rauschenberg.

Kings & Queens in Their Castles has been called the most ambitious LGBTQ photo series ever conducted in the US. Over 15 years, Atwood photographed more than 350 subjects at home nationwide (with over 160 in the book), including nearly 100 celebrities (with about 60 in the book). With individuals from 30 states, Atwood offers a window into the lives and homes of some of America's most intriguing and eccentric personalities.

115Avedon Fashion 1944-2000 encompasses seven decades of extraordinary images by Richard Avedon, the most influential fashion photographer of the 20th century. This comprehensive volume offers a definitive survey, from Avedon's groundbreaking early photographs for Harper's Bazaar through his constantly inventive contributions to Vogue, Egoiste, and The New Yorker. Each carefully selected image represents an artistic collaboration with significant models, stylists, and designers. Avedon Fashion accompanies the first major exhibition to survey this body of work, at the International Center of Photography in May 2009. With critical essays by Carol Squiers, curator at the ICP, and photography critic Vince Aletti, as well as an appreciation by photo-historian Philippe Garner, Avedon Fashion chronicles an astonishing record of photographic achievement.

115Richard Avedon was arguably the world's most famous photographer-as artistically influential as he was commercially successful. Over six richly productive decades, he created landmark advertising campaigns, iconic fashion photographs (as the star photographer for Harper's Bazaar and then Vogue), groundbreaking books, and unforgettable portraits of everyone who was anyone. He also went on the road to find and photograph remarkable uncelebrated faces, with an eye toward constructing a grand composite picture of America.
Avedon dazzled even his most dazzling subjects. He possessed a mystique so unique it was itself a kind of genius-everyone fell under his spell. But the Richard Avedon the world saw was perhaps his greatest creation: he relentlessly curated his reputation and controlled his image, managing to remain, for all his exposure, among the most private of celebrities.
No one knew him better than did Norma Stevens, who for thirty years was his business partner and closest confidant. In Avedon: Something Personal-equal parts memoir, biography, and oral history, including an intimate portrait of the legendary Avedon studio-Stevens and co-author Steven M. L. Aronson masterfully trace Avedon's life from his birth to his death, in 2004, at the age of eighty-one, while at work in Texas for The New Yorker (whose first-ever staff photographer he had become in 1992).
The book contains startlingly candid reminiscences by Mike Nichols, Calvin Klein, Claude Picasso, Renata Adler, Brooke Shields, David Remnick, Naomi Campbell, Twyla Tharp, Jerry Hall, Mikhail Baryshnikov, Bruce Weber, Cindy Crawford, Donatella Versace, Jann Wenner, and Isabella Rossellini, among dozens of others.
Avedon: Something Personal is the confiding, compelling full story of a man who for half a century was an enormous influence on both high and popular culture, on both fashion and art-to this day he remains the only artist to have had not one but two retrospectives at the Metropolitan Museum of Art during his lifetime. Not unlike Richard Avedon's own defining portraits, the book delivers the person beneath the surface, with all his contradictions and complexities, and in all his touching humanity.

115Avedon, who died in 2004, was the greatest American photographer of his generation. For In the American West, he traveled throughout five years, meeting and photographing the plain people of the West: ranch workers, roustabouts, bar girls, drifters, and gamblers. The resulting book includes 120 exquisitely printed black-and-white photographs, an essay by Avedon on his working methods and portrait philosophy, a journal of the project by Laura Wilson, and a new foreword by John Rohrbach. The reissuing of this legendary book, out of print for more than a decade, is a major event in the photography world.

115The preeminent stars and artists of the performing arts from the second half of the 20th century offered their greatest gifts-and, sometimes, their inner lives-to Richard Avedon. More than 200 are portrayed in Performance, many in photographs that have been rarely or never seen before. Of course, the great stars light the way: Hepburn and Chaplin, Monroe and Garland, Brando and Sinatra. But here too are the actors and comedians, pop stars and divas, musicians and dancers, artists in all mediums with public lives that were essentially performances, who stand at the pinnacle of our cultural achievement.

918This revised and updated edition of Faces of the North (2004) features a selection of the iconic images that have established Ragnar Axelsson (RAX) as one of the leading photographers of our time. The result of over 30 years documenting the lives of hunters, fishermen, and farmers in the North, this collection is a rare testament to the people across Iceland, the Faroe Islands, and Greenland whose worlds and ways of life have now all but disappeared. With the original foreword by Mary Ellen Mark.

918Glacier is an ode to Iceland's glaciers by renowned documentary photographer, Ragnar Axelsson. Having grown up near the glaciers and flown his plane over them countless times since, Axelsson has a deep affinity for the ice that has shaped the country's land and psyche, as well as his own lifelong fascination. With near-abstract black-and-white aerial images, and short reflective texts, Glacier is a breathtaking view of glacial forms, textures, and patterns as seen from a lyrical flight that starts above the clouds and ends at the sea.