It was the first Brian Eno album tobe composed almost completely in the confines of a recording studio,over a scant few months in the summer of 1975. The album was a proofof concept for Eno's budding ideas of "the studio as musicalinstrument," and a signpost for a bold new way of thinking aboutmusic.In this book, Geeta Dayal unravels Another Green World's abundantmysteries, venturing into its dense thickets of sound. How was analbum this cohesive and refined formed in such a seemingly ad hoc way?How were electronics and layers of synthetic treatments used to createan album so redolent of the natural world? How did a deck of cardsfigure into all of this? Here, through interviews and archivalresearch, she unearths the strange story of how Another Green Worldformed the link to Eno's future -- foreshadowing his metamorphosisfrom unlikely glam rocker to sonic painter and producer.

    The images of Pink Floyd album sleeves and the artwork they contain are the subject of Mind over Matter, a first-hand look at the music business and a consideration of where art ends and commerce begins.'

    Against a backdrop of more than 250 photographs of nature, wildlife, and landscapes, they share insights and advice about what works and what doesn’t, and how small changes can take an image from ordinary to extraordinary. Throughout, all-new tips from digital imaging expert Tim Grey show readers how to make the most of digital technology, whether by choosing the right color space, understanding sensor size, or removing distracting elements in post-processing. The result is an invaluable collection of expert advice updated for the modern age.

    Their sound was inventive and tetchy, and front man Jello Biafra’s lyrics were incisive and often scathing. This chronicle—the first in-depth book written about Dead Kennedys—uses dozens of firsthand interviews, photos, and original artwork to offer a new perspective on a group that was mired in controversy almost from its inception. It examines and applauds the band’s key role in transforming punk rhetoric, both polemical and musical, into something genuinely threatening and enormously funny. Author Alex Ogg puts the local and global trajectory of punk into context and, while not flinching from the wildly differing takes the individual band members have on the evolution of the band, attempts to be celebratory—if not uncritical.

    Lots of posters and memorabilia.

    

    There she met the legendary couple Frida Kahlo and Diego Rivera. Welcomed into their home, she immersed herself in their private lives and the cultural and artistic diversity of the country, taking hundreds of photographs. These powerful photographs, among the last taken before Kahlo’s death, bear poignant witness to Frida’s beauty and talent. Showcasing more than 100 of these rare images, many of which have never been published before, the book also includes previously unpublished commentary by Gisèle Freund about Frida Kahlo, texts by Kahlo’s biographer Gérard de Cortanze and art historian Lorraine Audric, as well as a link to a previously unreleased color film, shot by Freund, showing Diego Rivera at work.

    The Bee Gee's journey from Fifties child act to musical institution is one of pop's most turbulent legends. Barry, Maurice and Robin Gibb somehow managed to survive changing musical fashions and bitter personal feuds to create musical partnership that has already lasted four times as long as The Beatles. Described by the authors as their objective tribute, this unflinching biography chronicles everything - the good, the bad... and the bushed-up. Youthful delinquency, disastrous marriages, bitter lawsuits, gay sex scandals, serious drug problems and the death of younger brother Andy have sometimes made the personal lives of the Brothers Gibb look as bleak as the low spots of a career that once reduced them to playing the Batley Variety Club. Yet every time the Bee Gees roller coaster seemed derailed for good, they recorded and went on to even greater triumphs. Today they are revered among pop music's all-time great performers, producers and songwriters. But the true story of their success and the high price they paid for it has never been fully revealed... until now. This new edition of The Ultimate Biography incorporates a complete listing of every song written or recorded by the Gibbs.

    Renowned for his passionate songwriting, galvanizing live shows, and political activism, the iconic rocker shows no signs of slowing down. Richly photographed, and featuring brilliant writing by one of Americas top music critics as well as a foreword by Peter Ames Carlin (author of the bestselling biography Bruce), this is a must-have for Springsteens millions of fans.

    But before achieving fame as an author, Carroll was a prolific and sophisticated photographer, acutely engaged in the art world of Victorian England. This illustrated volume examines Carroll's photographs not as the sideline of a celebrated writer, but as the creations of a serious photographic artist, and demonstrates their importance to the history of photography. Douglas Nickel traces the evolution in thought about Carroll's photography in the period since his death, demonstrating the ways it has been viewed largely through the filter of his literary reputation. Key to this have been certain preconceptions built up around Carroll's attitudes toward children, especially Alice Liddell, the inspiration for his first book and the subject of a number of his photographs. Nickel demonstrates how, by overturning the modern myths that have attached themselves to Carroll's photography, the works themselves can be seen again as they were by their original Victorian viewers. This analysis is designed to reveal not only Carroll's signal achievement in the medium, but also a new understanding of Victorian art photography in general.

    A member of the prestigious Magnum agency since 1954, he has photographed all over the world and his images have been the subject of many books and exhibitions.Containing over 500 pictures, over half of which have never been published before, Elliott Erwitt Snaps is a unique and comprehensive survey of his work. From famous images such as Nikita Khrushchev and Richard Nixon arguing in Moscow in 1959 and Marilyn Monroe with the cast of the movie The Misfits, to his many more personal images of places, things, people and animals, Erwitt's unmistakable, often witty, style gives us a snapshot of the famous and the ordinary, the strange and the mundane over a period of more than half a century, through the lens of one of the period's finest image-makers.The book is arranged in nine chapters, each with a one-word title: Look, Move, Play, Read, Rest, Touch, Tell, Point, Stand. For Erwitt, whose photography is a study and celebration of life, these are the basic actions of life - the things people do. The photographs are not intended to illustrate the words, but the words act as a means of grouping and organizing, making broad connections and also playing with pun and ambiguity, in keeping with the visual games Erwitt plays.

    In each of these cases, and literally hundreds more, the model-making wizards of Industrial Light & Magic were instrumental in creating a universe full of glorious, heart-pounding illusions.In Sculpting a Galaxy: Inside the Star Wars Model Shop, Lorne Peterson, one of the founding members of ILM, takes the reader on a journey through thirty years of incredible adventures, telling never-before-published stories, explaining how classic scenes were created, and how beloved models were - often from the most unexpected of parts and ingredients. Paint buckets, model car parts, and walnut shells play important roles, alongside high-tech lasers and computer graphics, in creating the familiar yet fantastic components of a galaxy far, far away.Lavishly illustrated with more than 300 full-color photographs from the Lucasfilm Archives, this book provides an unparalleled look behind the scenes of a place that really has created magic. Lorne Peterson's warm, evocative voice and dedication to his craft inform every page, making this not just a stunning visual piece, but an epic history in its own right.

    She wasn't on assignment. She chose the subjects simply because they meant something to her. The first place was Emily Dickinson's house in Amherst, Massachusetts, which Leibovitz visited with a small digital camera. A few months later, she went with her three young children to Niagara Falls. "That's when I started making lists," she says. She added the houses of Virginia Woolf and Charles Darwin in the English countryside and Sigmund Freud's final home, in London, but most of the places on the lists were American. The work became more ambitious as Leibovitz discovered that she wanted to photograph objects as well as rooms and landscapes. She began to use more sophisticated cameras and a tripod and to travel with an assistant, but the project remained personal.Leibovitz went to Concord to photograph the site of Thoreau's cabin at Walden Pond. Once she got there, she was drawn into the wider world of the Concord writers. Ralph Waldo Emerson's home and Orchard House, where Louisa May Alcott and her family lived and worked, became subjects. The Massachusetts studio of the Beaux Arts sculptor Daniel Chester French, who made the seated statue in the Lincoln Memorial, became the touchstone for trips to Gettysburg and to the archives where the glass negatives of Lincoln's portraits have been saved. Lincoln's portraitists--principally Alexander Gardner and the photographers in Mathew Brady's studio--were also the men whose work at the Gettysburg battlefield established the foundation for war photography. At almost exactly the same time, in a remote, primitive studio on the Isle of Wight, Julia Margaret Cameron was developing her own ultimately influential style of portraiture. Leibovitz made two trips to the Isle of Wight and, in an homage to the other photographer on her list, Ansel Adams, she explored the trails above the Yosemite Valley, where Adams worked for fifty years.The final list of subjects is perhaps a bit eccentric. Georgia O'Keeffe and Eleanor Roosevelt but also Elvis Presley and Annie Oakley, among others. Figurative imagery gives way to the abstractions of Old Faithful and Robert Smithson's Spiral Jetty. Pilgrimage was a restorative project for Leibovitz, and the arc of the narrative is her own. "From the beginning, when I was watching my children stand mesmerized over Niagara Falls, it was an exercise in renewal," she says. "It taught me to see again."

    The Devil and Dr. Barnes traces the near-mythical journey of a man who was born into poverty, amassed a fortune through the promotion of a popular medicine, and acquired the premier private collection of works by such masters as Renoir, Matisse, Cézanne, and Picasso. Ostentatiously turning his back on the art establishment, Barnes challenged the aesthetic sensibilities of an uninitiated, often resistant and scoffing, American audience. In particular, he championed Matisse, Soutine, and Modigliani when they were obscure or in difficult straits. Analyzing what he saw as the formal relationships underlying all art, linking the old and the new, Barnes applied these principles in a rigorous course of study offered at his Merion foundation. Barnes's own mordant words, culled from the copious printed record, animate the narrative throughout, as do accounts of his associations with notables of the era--Gertrude and Leo Stein, Bertrand Russell, and John Dewey among them--many of whom he alienated with his appetite for passionate, public feuds. In this rounded portrait, Albert Barnes emerges as a complex, flawed man, who--blessed with an astute eye for greatness--has left us an incomparable treasure, gathered in one place and unforgettable to all who have seen it.

    Through the decades, this eye focused on Africa in the 1920s, the tragic fate of the Spanish Republicans, and the victory of the Chinese Communists. It was Cartier-Bresson who fixed in our minds the features of his contemporaries: Giacometti and Sartre as characters from their own works; Mauriac mysteriously levitating; Faulkner, Matisse, Camus, and countless others captured at the decisive moment in portraits for eternity.An intensely private individual, Cartier-Bresson confided in his close friend Pierre Assouline over a number of years, even opening up his archives to him. Here, for the first time, we read about his youthful devotion to surrealism; his unending passion for drawing; the war and the prison camps; the friends and the women in his life. Assouline provides an acute and perceptive account of the life and philosophy of this icon of our times, and gives us an opportunity to reassess his contribution to twentieth-century photography and reportage. 23 illustrations.