This book contains previously unpublished work that has never been exhibited.

    All photographs have the status of fact. What is to be examined is in what way photography can and cannot give meaning to facts." With these words, two of our most thoughtful and eloquent interrogators of the visual offer a singular meditation on the ambiguities of what is seemingly our straightforward art form.   As constructed by John Berger and the renowned Swiss photographer Jean Mohr, that theory includes images as well as words; not only analysis, but anecdote and memoir. Another Way of Telling explores the tension between the photographer and the photographed, between the picture and its viewers, between the filmed moment and the memories that it so resembles. Combining the moral vision of the critic and the pratical engagement of the photgrapher, Berger and Mohr have produced a work that expands the frontiers of criticism first charged by Walter Benjamin, Roland Barthes, and Susan Sontag.

    The result is a rare book of criticism, alive to the pleasure and mysteries of true exploration.

    Friedman, a pioneer of skate, punk, and hip-hop photography, including much never-before-published work. Glen E. Friedman is best known for his work capturing and promoting rebellion in his portraits of artists such as Fugazi, Black Flag, Ice-T, Dead Kennedys, Minor Threat, The Misfits, Bad Brains, Beastie Boys, Run-D.M.C., and Public Enemy, as well as classic skateboarding originators such as Tony Alva, Jay Adams, Alan "Ollie" Gelfand, Duane Peters, and Stacy Peralta, and a very young Tony Hawk. Designed in association with celebrated street and graphic artist Shepard Fairey, this monograph captures the most important and influential underground heroes of skateboarding, punk, and hip-hop cultures. My Rules is an unprecedented window into the three most significant countercultures of the last quarter of the twentieth century, and Friedman’s photographs define those important movements that he helped shape. A remarkable chronicle and a primer about the origins of radical street cultures, My Rules is also a statement of artistic inspiration for those influenced by these countercultures.

    

    It was a smoke-choked, triple-digit August Sunday, a day I will never forget. Smoke from the McNally fire in Sequoia National Park had drifted across the Sierra Nevada for weeks, collecting like a fog bank in the pocket of the Owens Valley. My husband and I were in the Buttermilks most of the day, arriving home at 4:30 in the afternoon to the answering machine's red blinking light. The message, left before noon, brought disbelief, then sadness. Just after 1:00 A.M. two men were fishing for catfish in Buckley Ponds south of Bishop Airport. They watched a small plane pass by, eye-level, wings perpendicular to the ground, then vanish into the darkness behind a low ridge. At 1:00 P.M. the next day, our FedEx driver handed me a box from Hong Kong—the final color proofs for this edition of High & Wild. Before he and Barbara left for the Bering Sea, Galen said, that if they had to go to China to tend to another project, they would be back by August 15th. If not, they would be back Sunday. We would look over the proofs, but that was not to be. Galen and Barbara Rowell moved to Bishop in the late spring of 2001. They bought the old Monument Bank building and opened Mountain Light Gallery. From the day it opened it was the shining star of this rural ranching town's main street. It was Galen who suggested that we publish a new edition of his book High & Wild: Essays and Photographs in Wilderness Adventure. He selected photographs, added new chapters, and wrote new material, all of which are as he left them. His photographs were composed with such perfection that an entire image could be used edge to edge without cropping. On my way to and from Bishop, I sometimes saw him photographing the dramatic light of the Sierra or White Mountains through the cottonwoods and poplars, alone and completely absorbed in his work. Galen loved the Eastern Sierra and that is why High & Wild with its many climbing and skiing stories, set here in this beautiful country, held such a special place in his heart. He stopped by now and then to chat. Once he came by after dayhiking to the summit of White Mountain Peak. On the way down, he wanted to bypass heavy snow then discovered he was in another canyon. To get back to his car, 10,000 became 13,000 feet of gain. Often he climbed Mt. Whitney's east face in the morning and was back at his desk by noon. More than once he said he was getting too old for such things. He carried the galleys for High & Wild with him to Tibet and back saying it would give him something to read on the long flight. Having outlived his Mt. McKinley ski expedition partners, Ned Gillette, Alan Bard, and Doug Weins, I asked him what it felt like to be the one still here, so he wrote about it. While working on High & Wild, he lost his friend Warren Harding. Always reminders. Galen valued life, knew its precious quality, and filled every moment with living. On August 23rd, he would have celebrated his 62nd birthday. Galen and Barbara Rowell came to Bishop like two shooting stars. Burning bright and spectacular, they brought dreams to this town. No matter to what remote corners of the world they traveled, from Siberia to Tibet, they always came back to the Eastern Sierra. This is where they wanted to be. This was home. Wynne Benti, Publisher Bishop, California, August 2002

    The 747 photographs document chronologically his choice of subject and his lifelong technical experimentation. Page by page, the reader experiences what Evans saw, what he recorded and how he altered what he recorded to achieve the image he intended. One sees the same subject photographed with different lenses and in different lights; and spreads from Vogue and Fortune

    It includes information on darkroom design, woodworking for the novice, lightproofing, ventilation, worktables, building enlarger baseboards, light boxes, water supply panels, print drying racks, darkroom sinks, and much more.

    Focusing on the immense photographic output of the Salpetriere hospital, the notorious Parisian asylum for insane and incurable women, Didi-Huberman shows the crucial role played by photography in the invention of the category of hysteria. Under the direction of the medical teacher and clinician Jean-Martin Charcot, the inmates of Salpetriere identified as hysterics were methodically photographed, providing skeptical colleagues with visual proof of hysteria's specific form. These images, many of which appear in this book, provided the materials for the multivolume album Iconographie photographique de la Salpetriere.As Didi-Huberman shows, these photographs were far from simply objective documentation. The subjects were required to portray their hysterical type--they performed their own hysteria. Bribed by the special status they enjoyed in the purgatory of experimentation and threatened with transfer back to the inferno of the incurables, the women patiently posed for the photographs and submitted to presentations of hysterical attacks before the crowds that gathered for Charcot's Tuesday Lectures.Charcot did not stop at voyeuristic observation. Through techniques such as hypnosis, electroshock therapy, and genital manipulation, he instigated the hysterical symptoms in his patients, eventually giving rise to hatred and resistance on their part. Didi-Huberman follows this path from complicity to antipathy in one of Charcot's favorite cases, that of Augustine, whose image crops up again and again in the Iconographie. Augustine's virtuosic performance of hysteria ultimately became one of self-sacrifice, seen in pictures of ecstasy, crucifixion, and silent cries.

    With more than 600 photographs, advertisements and record labels, the book presents the years of 1920–1950—the decades of the greatest ferment and spread of jazz. Black Beauty White Heat will be a focal point of endless discussion about the origins of jazz for years to come.

    

    

    These photographs depict a Weimaraner dog dressed as Louis XIV, posing as Picasso's Old Guitarist, and variously covered with baby powder, flowers and tinsel.

    

    - Back Stage Movie fans eagerly await each year's new edition of Screen World, the definitive record of the cinema since 1949. Volume 56 provides an illustrated listing of every significant American and foreign film released in the United States in 2004, documented with more than 1000 color and black-and-white photographs. The 2005 edition highlights Clint Eastwood's Million Dollar Baby, which won four Academy Awards, including Best Picture, Best Director, Best Actress in a Leading Role (Hilary Swank) and Best Actor in a Supporting Role for Morgan Freeman, his first Oscar. Martin Scorsese's The Aviator picked up five Academy Awards. Other notable films include Hotel Rwanda starring Academy Award nominees Don Cheadle and Sophie Okonedo. As always, Screen World also includes a pricelss reference on over 2,400 living stars; Obituaries for 2004; The top box office stars and top 100 box office films; A comprehensive index; and more.

    

    The focus is on the images themselves, with abundant examples by some of the world's finest practitioners. The exquisitely designed pages feature Hill's own works, of course, and also those of such greats as Victor Burgin, Fay Godwin, Emmett Godwin, Duane Michals, and Jo Spence. Hill tackles such basic but important topics as how the camera sees photographs and how to read them, and also analyzes contemporary attitudes to photography and the different approaches taken by a variety of photographers to a range of subjects.