In About Looking he explores our role as observers to reveal new layers of meaning in what we see. How do the animals we look at in zoos remind us of a relationship between man and beast all but lost in the twentieth century? What is it about looking at war photographs that doubles their already potent violence? How do the nudes of Rodin betray the threats to his authority and potency posed by clay and flesh? And how does solitude inform the art of Giacometti? In asking these and other questions, Berger quietly -- but fundamentally -- alters the vision of anyone who reads his work.

    A painting of a corn dog. A clock made out of an old “mostly clean” cheese grater. All this and more await you in the pages of Regretsy, a veritable sideshow of handcrafts gone wrong. Based on the eponymous hit blog and arranged in categories such as Décor, Pet Humiliation, and Christmas, Regretsy showcases the best of the worst, ranging from the hilariously absurd to the purely horrifying. Each page of this jaw-dropping volume features the actual seller’s online listing with a light coat of snarky commentary to give it a good shellacking. So join us as we descend into handmade hell and gawk, gasp, and marvel at the disturbingly odd artifacts that Regretsy has collected for your viewing pleasure, proving that you can never have too much of a bad thing.

    A seminal work of modern photojournalism, this landmark collection of photographs and interviews documents the abandon and risk implied in the name of the gang Lyon belonged to: the Chicago Outlaw Motorcycle Club. With images and interviews that are as raw, alive, and dramatic today as they were three decades ago, this new edition includes startling new images: 15 additional black-and-white photographs and 14 color prints--long thought missing--of works originally published in black-and-white. With a new introduction by the author, The Bikeriders rides again, capturing like never before the dawn of the counterculture era.

    Through his unconventional wisdom and singular storytelling, Simon Doonan is the ideal instructor to help readers find – and then flaunt – their own creative style and vision. With provocative wit, he walks us through every aspect of our lives: fashion, socializing, love, work, decor, and family, sharing case studies, quotations by cultural icons and practical tips.Illustrated with amusing vintage and contemporary photographs, some lifted from the Doonan family album, How to Be Yourself is an inspiring, joyful and entertaining survival guide – a literary GPS that promises to transport you away from your phone and back to yourself.

    It is filled with dozens of humorous tales of musician antics and concert meltdowns. Outsiders are rarely allowed such access, but at last you can have your own personal tour of the mystical and magical realm of professional orchestras and the people who play in them. "Real Men Don't Rehearse" was written by Justin Locke, who spent 18 seasons as a professional freelance double bassist in Boston. He played with the Boston Symphony and the Boston Pops, as well as for ballets, operas, and Broadway shows. He is also well known in the symphonic world as the author of "Peter VS. the Wolf" and "The Phantom of the Orchestra," which are internationally acclaimed programs for orchestra family concerts. This is the perfect gift for your favorite music lover! This is a book no musical library should be without!

    They reveal an unexpected rebirth of imagination, an unknown burgeoning that took place from 1970 until 1990. Contrary to the twenties and thirties, no “school” or main trend emerges here. These buildings represent a chaotic impulse brought about by a decaying system. Their diversity announces the end of Soviet Union. Taking advantage of the collapsing monolithic structure, the holes of the widening net, architects revisited all the chronological periods and styles, going back to the roots or freely innovating. Some of the daring ones completed projects that the Constructivists would have dreamt of (Druzhba sanatorium), others expressed their imagination in an expressionist way (Tbilisi wedding palace). A summer camp, inspired by sketches of a prototype lunar base, lays claim to its suprematist influence (Promethee). Then comes the speaking architecture widespread in the last years of the USSR: a crematorium adorned with concrete flames (Kiev crematorium), a technological institute with a flying saucer crashed on the roof (Kiev institute), a political center watching you like a Big Brother (Kaliningrad House of Soviet). This puzzle of styles testifies to all the ideological dreams of the period, from the obsession with the cosmos to the rebirth of privacy and it also outlines the geography of the USSR, showing how local influences made their exotic twists before bringing the country to its end.

    Now he presents an exquisite collection that captures the full range of his work and the magic of chance encounters in New York City. Hayes's "frank, beautiful, bewitching" street photographs "unmask their subjects' best and truest selves" (Jennifer Senior, New York Times): A policeman pauses at the end of a day. Cooks sneak in cigarette breaks. A pair of movers plays cards on the back of a truck. Friends claim the sidewalk. Lovers embrace. A flame-haired girl gazes mysteriously into the lens. And park benches provide a setting for a couple of hunks, a mom and her baby, a stylish nonagenarian . . . How New York Breaks Your Heart reveals ordinary New Yorkers at their most peaceful, joyful, distracted, anxious, expressive, and at their most fleeting--bringing the texture of the city to vivid life. Woven through with Hayes's lyric reflections, these photos will, like the city itself, break your heart by asking you to fall in love.

    He is also drawn to the mystery and unexpected beauty found in abandoned architecture. Here Vanden Brink captures and illuminates in stunning black and white images abandoned structures such as mills, bridges, grain elevators, churches, and storefronts-structures that once were important and useful. With text by historic preservation expert Howard Mansfield, this collection of photos grants permanence to places that may soon vanish forever.

    A key figure in the New York art scene, he inventively explored the interplay between words and images throughout his career, first as a member of SAMO, a graffiti group active on the Lower East Side in the late 1970s, and then as a painter acclaimed for his unmistakable Neoexpressionist style. From 1980 to 1987, he filled numerous working notebooks with drawings and handwritten texts. This facsimile edition reproduces the pages of seven of these fascinating and rarely seen notebooks for the first time.The notebooks are filled with images and words that recur in Basquiat's paintings and other works. Iconic drawings and pictograms of crowns, teepees, and hatch-marked hearts share space with handwritten texts, including notes, observations, and poems that often touch on culture, race, class, and life in New York. Like his other work, the notebooks vividly demonstrate Basquiat's deep interests in comic, street, and pop art, hip-hop, politics, and the ephemera of urban life. They also provide an intimate look at the working process of one of the most creative forces in contemporary American art.

    In 1972, the 13-year-old Woodman made a black-and-white photograph of herself sitting at the far end of a sofa in her home in Boulder, Colorado. Her face is obscured by her hair, light radiates from an unseen source behind her out at the viewer through her right hand. This photograph typifies much of what would characterize Woodman's work to come: a semi-obscured female form merging with or flailing against a somewhat bare and often dilapidated interior. In an oeuvre of around 800 photographs made in just nine years, Woodman performed her own body against the textures of wallpaper, door frame, baths and couches, radically extending the Surrealist photography of Man Ray, Hans Bellmer and Claude Cahun and creating a mood and language all her own. In the 30 years since her untimely death, Woodman has gained a following among successive generations of artists and photographers, a testament to her work's undeniable immediacy and enduring appeal Amid a renewed intensification of interest in Francesca Woodman, this volume is published for a major touring exhibition of her photographs and films at the San Francisco Museum of Modern Art and the Guggenheim. Containing many previously unpublished photographs, it is the definitive Francesca Woodman monograph.Francesca Woodman (1958-1981) was born in Denver, Colorado, to the well-known artists George and Betty Woodman. In 1975 she attended the Rhode Island School of Design, and in 1979 she moved to New York, to attempt to build a career in photography. In 1981, at the age of 22, she committed suicide.

    In 1983, four self-described "knuckleheads" burst out of the mosh-pitted mosaic of the neo-punk rock scene in L.A. with their own unique brand of cosmic hardcore mayhem funk. Over twenty years later, the Red Hot Chili Peppers, against all odds, have become one of the most successful bands in the world. Though the band has gone through many incarnations, Anthony Kiedis, the group's lyricist and dynamic lead singer, has been there for the whole roller-coaster ride. Whether he's recollecting the influence of the beautiful, strong women who have been his muses, or retracing a journey that has included appearances as diverse as a performance before half a million people at Woodstock or an audience of one at the humble compound of the exiled Dalai Lama, Kiedis shares a compelling story about the price of success and excess. Scar Tissue is a story of dedication and debauchery, of intrigue and integrity, of recklessness and redemption--a story that could only have come out of the world of rock.

    Crumb Handbook is a brand new take on the life, trials and ideas of one of the most influential cartoonists of the last 40 years. Wry, self-deprecating, and candid, this is an exceptionally revealing and unexpectedly moving visual biography. Crumb is thoughtful and enlightening, with insights into 20th century popular culture that are hilarious, challenging, and acidly satirical. Crumb casts an unblinking eye onto the underbelly of modern life, an urban nightmare of human weakness, lust, terror, and cruelty all seen through the comic lens of satire. Simultaneously, he weaves in the surreal narrative of his personal evolution from his tormented childhood in the 1940s through his coming of age in the psychedelic revolution of the 1960s. With over 80 personal photographs, and 300 images taken from his sketchbooks many of which have never been seen before, comic books, as well as fine art from museums, The R. Crumb Handbook tells it like it is!Described by art critic Robert Hughes as "the Brueghel of the 20th century," Robert Crumb has become the only sixties counter culture artist to break through into the fine art world and today attracts celebrity collectors such as Steve Martin and author Alex Garland.Written with his close friend and fellow cartoonist Peter Poplaski, the new book allows ample room for the "father of underground comics" to express his ideas and opinions on a variety of subjects: fame and celebrity, art and commercialism, sex and drugs, age and death. And what visit to Crumbland would be complete without cameo appearances by Mr. Natural, Fritz the Cat, Devil Girl, and Keep On Truckin'?At over 400 pages, The R. Crumb Handbook is the newest and best compilation ofhis most famous work. The book features over 300 never seen before illustrations from his sketchbooks, 80 personal photos, interviews, and a special CD of 20 songs of R.Crumb's original music. Cartoons? Photos? Music? All in one book? This is a valuable collectible that will be welcomed by all.

    His journals reveal an artist who loved music, who knew the history of rock, and who was determined to define his place in that history. Here is a mesmerizing, incomparable portrait of the most influential musician of his time.

    Featured are more than 70 dancers from companies including American Ballet Theatre, New York City Ballet, Alvin Ailey American Dance Theater, Martha Graham Dance Company, Boston Ballet, Royal Danish Ballet, The Royal Ballet, Abraham in Motion, and many more. Accompanying the photographs are intimate and inspiring words from the dancers, as well as from choreographers and artistic directors on what dance means to them.