Its graphic depictions of sex, violence, and drug abuse in the youth culture of Oklahoma were acclaimed by critics for stripping bare the myth that Middle America had been immune to the social convulsions that rocked America in the 1960s. The raw, haunting images taken in 1963, 1968, and 1971 document a youth culture progressively overwhelmed by self-destruction -- and are as moving and disturbing today as when they first appeared. Originally published in a limited paperback version and republished in 1983 as a limited hardcover edition commissioned by the author, rare-book dealers sell copies of this book for more than a thousand dollars. Now in both hardcover and paperback editions from Grove Press, this seminal work of photographic art and social history is once again available to the general public.

    This small volume, first published in 1971, became one of his signature works. Taken between 1920 and 1970, these photographs capture people reading in many parts of the world. Readers in every conceivable place—on rooftops, in public parks, on crowded streets, waiting in the wings of the school play—are caught in a deeply personal, yet universal, moment. Kertész's images celebrate the absorptive power and pleasure of this solitary activity and speak to readers everywhere. Fans of photography and literature alike will welcome this reissue of this classic work that has long been out of print.

    In 1971 she surprised her readers with this important book, for in One Time, One Place many of them discerned for the first time that this revered writer was also a gifted photographer. Throughout her writing career, Welty's camera was a close companion. The one hundred pictures included here are her selections from many she took during the Great Depression as she traveled in her home state of Mississippi. These pictures are poignant images of human endurance. For her, looking back, they showed a record of a time and a place, an impoverished world that against great odds sustained a sense of community. Both black and white, the men, women, and children she photographed, unaware that they are coping with dire conditions, press onward with their lives. "The Depression, in fact," Welty says in her introduction, "was not a noticeable phenomenon in the poorest state in the Union." In the foreword to this Silver Anniversary edition of One Time, One Place, William Maxwell, Eudora Welty's dear friend and esteemed colleague in literature, offers an appreciation of this photographer's special genius and a loving glimpse into her artistic world.

    Many in Japan regarded the suicide as a sensational act. However, the publication of Mishima's final cycle of novels, which had been conceived eight years prior to his death, revealed that his death was carefully considered--a gesture of historical import in perfect accord with the morbid and esoteric aesthetic that pervades his writing. In 1961 Mishima asked Eikoh Hosoe to photograph him, giving him full artistic direction in making these surreal and alluring photographs. The props that surround the writer and the baroque interior of his home are antithetical to the pure Japanese sensibility of understatement and reveal Mishima's dark, theatrical imagination.

    

    For over four decades he used his camera precisely and lucidly to record the American experience. He is generally acknowledged as America's finest documentary photographer of this century. He attempted to show both the beauty of his subjects and the horror of the social situations in which they lived. During the Depression, from 1935 to 1937, Evans took part in the most extensive photographic project ever carried out in the United States-the pictorial survey of the Farm Security Administration. The now-legendary collaboration with James Agee that resulted in the masterpiece Let Us Now Praise Famous Men documents his dedication to photographing the country he knew.Evans's talented eye and sensitive heart make him one of the great photographers of this century. This volume contains many of his best-known images.Born in St. Louis, Missouri, in 1903, Walker Evans studied at the Sorbonne in Paris in 1926-27. Mainly self-taught as a photographer, he worked freelance in New York starting in 1928. He was part of Roy Stryker's Farm Security Administration project as a staff photographer in the Southern United States from 1935 to 1937. From 1945 to 1965 he was an associate editor and photographer for Fortune magazine. After retiring from professional photography in 1965, he became a professor at Yale University, where he taught generations of young photographers in documentary approach. Evans received three Guggenheim Fellowships, as well as many other awards, and his work is included in museum collections around the world. He died in 1975 in New Haven, Connecticut.

    Among the personalities portrayed in this volume are Marian Anderson, Pablo Casals, Marc Chagall, Winston Churchill, Albert Einstein, Queen Elizabeth, Robert Frost, Ernest Hemingway, Helen Keller, John F. Kennedy, Martin Luther King, Nikita Khrushchev, W. Somerset Maugham, Marcel Marceau, Richard Nixon, Georgia O'Keefe, Laurence Olivier, Pope Paul VI, Pablo Picasso, Albert Schweitzer, George Bernard Shaw, Tennessee Williams, and John Steinbeck. 204 pages; 48 full-page sheet-fed, gravure-printed b&w plates; 12.5 x 9 inches.

    Renowned Japanese photographer Hatakeyama evokes the site as the landscape is torn asunder for industrial use. The result is a surprisingly eerie work, composed of rusting lots, polluted waters, and upturned stone.

    The series has explored all the major aspects of photography: the technology of equipment; the techniques of taking pictures; developing film and making prints; photographic history; and the esthetics of photography as an art form.

    

    The series has explored all the major aspects of photography: the technology of equipment; the techniques of taking pictures; developing film and making prints; photographic history; and the esthetics of photography as an art form.