The legendary curator John Szarkowski, director emeritus of the Department of Photography at New York's Museum of Modern Art, has painstakingly selected what he considers Adams' finest work and has attempted to find the single best photographic print of each. Szarkowski writes that "Ansel Adams at 100 is the product of a thorough review of work that Adams, at various times in his career, considered important. It includes many photographs that will be unfamiliar to lovers of Adams' work, and a substantial number that will be new to Adams scholars. The book is an attempt to identify that work on which Adams' claim as an important modern artist must rest." Ansel Adams at 100-the highly acclaimed international exhibition and the book, with Szarkowski's incisive critical essay-is the first serious effort since Adams' death in 1984 to reevaluate his achievement as an artist. The exhibition prints, drawn from important public and private collections, have been meticulously reproduced in tritone to create the splendid plates in this edition, faithfully rendering the nuances of the original prints. Ansel Adams at 100 is destined to be the definitive book on this great American artist. John Szarkowski is director emeritus of the Department of Photography, The Museum of Modern Art, New York. He is the author of such classic works as Looking at Photographs, The Photographer's Eye, Photography Until Now, and Atget, as well as several books of his own photographs, including the recently reissued The Idea of Louis Sullivan.

    This book was conceived on a grand scale that does justice to his extraordinary life and the events he has witnessed. It forms one of the great documents of the latter part of the last century.The book begins and ends in the Somerset landscape that surrounds McCullin's home, but the whole sequence of more than two hundred photographs encompasses a ravaged northern England, war in Cyprus, Biafra, Vietnam, Cambodia, Beirut and riots in Derry. The climax of the book is among the cannibals and tribespeople deep in the jungles of Irian Jaya, where McCullin focuses on humanity in an almost Stone Age condition.The introduction by Harold Evans, the acclaimed newspaper editor and authority on photojournalism, is drawn from his long experience of working with McCullin. The distinguished novelist and essayist, Susan Sontag, has contributed an essay on McCullin and the role of witness to conflict - a subject of timely pertinence.

    Such an artist is able to transcend established thinking and help us redefine ourselves and our world. Today, a growing number of art critics, philosophers, and spiritual seekers believe that they have found that vision in the art of Alex Grey. Transfigurations, the follow-up to Grey’s Sacred Mirrors (1991)--one of the most successful art books of the 1990s--includes all of Grey’s major works completed in the following decade, including the masterful seven-paneled altarpiece Nature of Mind, called “the grand climax of Grey’s art” by Donald Kuspit. His portrayals of human beings blend anatomical exactitude with visionary depictions of universal life energy. Alex Grey’s striking artwork leads us on the soul’s journey from material world encasement to recovery of the divinely illuminated core.

    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, re nowned aerial photographer Yann Arthus-Bertrand presents nearly 200 striking color images that put our home planet in a whole new perspective. Produced under the sponsorship of UNESCO, the book is also a unique documentary record of the earth's fragile ecosystems at the dawn of the new millennium. Commentaries by noted specialists illuminate what we see-and explain exactly what we stand to lose as demographic pressures put more stress on the environment.

    The trove included massive, multi-volume illustrated manuscripts, double-sided nine-foot-long watercolor murals, photo-enlarged tracings, and hundreds of sketches. Depicting a turbulent world, these works are the product of the fertile yet tormented imagination of a secretive Chicago janitor who has since been recognized as one of the supreme self-taught artists of the 20th century.Cataloguing in full color the American Folk Art Museum's recent acquisition of 37 paintings, among other Darger works, this informative yet affordable volume offers a general introduction to a controversial self-taught artist.

    With over 100 songs, a Foreword by Tori herself, and original artwork by Herb Leonhard.

    and strangely comforting. Hido photographs the interior rooms of repossessed tract homes, and the outsides of similar houses at night whose habitation is suggested by the glow of a television set or unseen overhead bulb. Seldom does the similar evoke such melancholy. Yet rather than passing judgment on his anonymous subjects, Hido manages to turn the banal into something beautiful, imbuing his prints of interiors with soft pastels, and allowing the exteriors to glow in the cool evening air.' (From our description of the first printing of 'House Hunting', announced in 2000) We are excited to announce a newly remastered edition of Todd Hido's iconic and highly sought-after first monograph, House Hunting. To celebrate the upcoming 20th anniversary of this important book - certainly one of the most influential and oft-cited photography monographs of our time - we have collaborated closely with the artist to achieve a new impression of the highest possible fidelity. Printed on heavy weight matte art paper, using cutting-edge technologies in both the pre-press and production phases, this new edition of 'House Hunting' stays true to the original design and format while delivering even more accurate color rendition and nuances in tone and saturation. It will be a welcome addition to collections lacking access to the very scarce original printings; and to those fortunate enough to own a copy of the original edition, it further illuminates the images themselves that first catapulted the artist and his first monograph to fame.

    

    It is modest in scale, imaginative and ecological, painstakingly crafted and 'unheroic'. Friedman suggests a new direction in art: post video, post political/identity issues, post digital media, post ready-mades. Friedman works in a windowless studio (more like a playground-kitchen-laboratory) in rural Massachusetts, relentlessly inventing these startling ephemeral objects 'out of the stuff in my house': bits of Styrofoam, packing material, bottle tops, pencil shavings, plastic straws, dental floss, spaghetti, toothpicks, bubble gum. Some of his works are too delicate to move, existing solely in photographs and, above all, in the imagination. This is art that, to quote New York Times critic Roberta Smith, 'raises wonderful questions about the making and seeing of art': about paying attention, about how we spend our time, and about the pleasures of small transformations producing sudden beauty. Solo exhibitions of Friedman's works have been held at The Museum of Modern Art in New York and at The Art Institute of Chicago. A major exhibition of his work, 'Tom Friedman: The Epic in the Everyday' toured in 2000-2 to the Museum of Contemporary Art in Chicago, the Yerba Buena Center for the Arts in San Francisco, the New Museum of Contemporary Art in New York and the Southeastern Center for Contemporary Art in Winston-Salem, North Carolina. American art critic Bruce Hainley examines the artist's work as a kind of giant self-portrait. Poet and novelist Dennis Cooper discusses with the artist such unexpected influences as contemporary electronic music. Guardian art critic Adrian Searle looks at the artist's work Untitled, 1993: a ring of plastic cups in a home-made Minimalist tradition. The Artist's Choices are The Dinner Party (1919) by Swiss writer Robert Walser, and the glossary to Info-Psychology (1975-6) by Timothy Leary, the cult psychologist who advocated the use of psychedelic drugs. Facsimiles of the artist's notebooks and text works are published alongside an important interview by renowned curator Robert Storr.

    When he met The Clash, however, a synergy of mutual respect and musical passion was established, leading to six years of documenting the globally worshipped band's adventures.

    This book provides an insightful look at one of the century's most beloved glamour girls, chronicling her life in more than 300 photographs, many of which have never been seen or have not been published in more than 50 years. The photos run the gamut from publicity shots, film stills, rehearsal photos, candids, news photographs, and, of course, that famous WWII pin-up. The photographs span Rita Hayworth's life her rise from starlet to star, her marriages to such famous men as Orson Welles, Prince Aly Khan, and Dick Haymes, and ending with her death from Alzheimer's disease.

    A collection of pictures from the award-winning photographer Mick Rock, featuring some of the most seminal images of the glam-rock era.

    What took place as an astonished public came upon these snowballs -- each weighing about a ton -- is captured in spontaneous and evocative pictures taken by photographers working around the clock.Here, then, is the story of Goldsworthy's largest ephemeral work to date. Made in one century (the 20th) and unwrapped to melt very slowly in the next, this is four-dimensional sculpture in which the lifespan and history of the snowballs are as important as their appearance at any moment. As Judith Collins explains in her introduction, and Goldsworthy in his diaries, this is a natural progression from his previous work with snow. Goldsworthy presents a unique confrontation between the wilderness and the city -- snowballs made in the Scottish winter brought to the streets of London in the summertime.

    Conceived, designed, written and made by hand as a prototype by master photographer Roy DeCarava (b.1919) in the early 1960s, yet unpublished for nearly half a century, The Sound I Saw has largely existed as a legend among the cognoscenti of the photography world. Presented as a stream of 196 soulful images interspersed with DeCarava's own evocative poetry, the book is, in its form and effect, the printed equivalent of jazz. "This is a book about people, about jazz, and about things. The work between its covers tries to present images for the head and for the heart and, like its subject matter, is particular, subjective, and individual," writes the author. DeCarava is a life-long New Yorker who from his immediate world creates images that transcend the specific to depict universal themes of joy, anticipation, pain and survival. Largely unpublished, he was first recognized for his images of daily life in Harlem (the subject of The Sweet Flypaper of Life, his 1955 collaboration with Harlem Renaissance poet Langston Hughes) and portraits of musicians like Duke Ellington and Billie Holiday. It is these two themes, Harlem and jazz, interwoven and inseparable, that are the ostensible subject of the book. However, the seemingly casual yet deeply felt compositions and the deep, rich tones of DeCarava's photographs stir emotions that resonate far beyond one neighbourhood and one era.

    His skilled, wonderfully atmospheric photos of Paris's parks, buildings, streets, store windows, prostitutes, workers, and even door handles are a joy to behold. This abbreviated volume contains a selection of Atget's best photographs and is the perfect introduction to this master photographer's work.

    Photographs and written text are combined in this visual diary of one man's experience of the war, including images such as the famous "White death" depicting a dead soldier nearly covered in snow.

    This book presents a range of these portraits as well as excerpts from recent interviews with the artists and an essay placing their work in the context of the history of portrait photography in West Africa since its beginnings in the 1840s." These photographs are the work of Africans controlling the camera to create images of African subjects for an African audience. For both photographers the studio was a theater in which to coordinate costumes, lighting, props, and poses to help the subjects define themselves. Keita adapted the formulas of portrait photography to make unique images that reflect both his clients' social identity within the community and their enthusiastic embrace of modernity. Later, as portrait conventions and societal roles became more flexible, Sidibe's subjects took an even more active part in constructing the images they wanted to convey. In Bambara, the language widely spoken in Mali, there is an expression, i ka nye tan, which means "you look beautiful like that." Keita's and Sidibe's protraits flatter the sitters, presenting them in the best possible light.

    As the daughter of a German-born photographer, Kahlo was used to posing, and from early youth she was adept at guiding the public perception of her person. In her often anguished self-portraits, she dissected her conflicts and her physical traumas, soon becoming an iconic figure and a symbol for Mexican culture. Yet ironically she transgressed many boundaries and shattered taboos in a way that was perhaps shocking to most Mexicans. In portraits by friends and photographers such as Tina Modotti and Edward Weston she wears traditional clothing and features many Mexican folk traditions, transforming her "Mexicanidad" into an indelible personal trademark. Through numerous paintings and photographs, and with articles by acclaimed theorists such as Griselda Pollock and Mieke Bal, this book traces the major events of this unique artist's life, while relating Kahlo's art to that of her contemporaries, such as Diego Rivera, Mar�a Izquierdo, David Alfaro Siquieros and Jos� Clemente Orozco.

    The "impressionist" photographer deliberately abandons physical exactitude to convey the reality of feelings more effectively.This book explains how to venture into the non-literal world of photography to create and record impressions that express emotion, feelings and spirit.The first part of the book includes instructional topics such as: Multiple exposures Montages Subtle and vibrant colors Selective focus, exposure and speed Creative image transfer techniques Trends and film choices.The second part is a gallery of photographs taken around the world with extensive captions that explain the authors' personal approaches to photography.

    From rodeos to blues singers, from William Faulkner’s Mississippi to minor league baseball, Allard has turned his camera toward parts of our heritage that are often overlooked. His other award-winning books include The Vanishing Breed and A Time We Knew.Portraits of America features 165 of Allard’s finest photographs. Presented in chronological order, with incisive introductions to each section written by Allard himself, these photographs show the creative development of a remarkably gifted artist.Pulitzer Prize­winning author Richard Ford contributes a foreword that places Allard’s photography within the context of the American experience. Art aficionados and lovers of Americana alike delight in this beautifully designed and thoughtful collection from a man who has become a legend in the world photographic community.