In this intimate and revealing memoir, Stein tells us much about the great man (and herself) and offers many insights into the life and art of the 20th century's greatest painter.Mixing biological fact with artistic and aesthetic comments, she limns a unique portrait of Picasso as a founder of Cubism, an intimate of Appollinaire, Max Jacob, Braque, Derain, and others, and a genius driven by a ceaseless quest to convey his vision of the 20th century. We learn, for example, of the importance of his native Spain in shaping Picasso's approach to art; of the influence of calligraphy and African sculpture; of his profound struggle to remain true to his own vision; of the overriding need to empty himself of the forms and ideas that welled up within him.Stein's close relationship with Picasso furnishes her with a unique vantage point in composing this perceptive and provocative reminiscence. It will delight any admirer of Picasso or Gertrude Stein; it is indispensable to an understanding of modern art.

    The chapters focus on description, interpretation, evaluation, and theory and provide a sound b

    In his accessible style, Barnbaum presents how-to techniques for both traditional and digital approaches. Yet he goes well beyond the technical as he delves deeply into the philosophical, expressive, and creative aspects of photography. This book is geared toward every level of photographer who seeks to make a personal statement through their chosen medium. Bruce Barnbaum is recognized as one of the world’s finest photographers as well as an elite instructor. This newest incarnation of his book, which has evolved over the past 35 years, will prove to be an invaluable photographic reference for years to come. This is truly the resource of choice for the thinking photographer. Filled with over 100 beautiful photographs, as well as numerous charts, graphs, and tables.

    The sense of private mystery that fills these photographs--mostly taken during Koudelka's many years of wandering through Europe and Great Britain since leaving his native Czechoslovakia in 1968--speaks of passion and reserve, of his rage to see. Solitary, moving, deeply felt and strangely disturbing, the images in Exiles suggest alienation, disconnection and love. Exiles evokes some of the most compelling and troubling themes of the twentieth century, while resonating with equal force in this current moment of profound migrations and transience.Josef Koudelka (born 1938) has published ten books of photographs, many of which focus on the relationship between man and the landscape, including Gypsies (1975; revised and enlarged edition in 2011), Exiles (1988), Black Triangle (1994), Invasion 68: Prague (2008) and Wall (2013). Significant exhibitions of his work have been held at The Museum of Modern Art and the International Center of Photography, both in New York; Hayward Gallery, London; and Palais de Tokyo, Paris. Koudelka is the recipient of the Medal of Merit awarded by the Czech Republic (2002) and numerous other awards. In 2012, he was named Commandeur de l'Ordre des Arts et des Lettres by the French Ministry of Culture. He is based in Paris and Prague.

    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.

    

    Its goal is to inspire photographers of all levels who wish to improve their work, as well as readers interested in deepening their understanding of the art of photography. Each volume is introduced by a well-known student of the featured photographer. In this book, Larry Fink--well-known for his layered pictures in social settings--explores composing photographs and improvising within a scene to create images with both feeling and meaning. Through words and photographs, he reveals insight into his own practice and discusses a wide range of creative issues, from connecting with the subject in front of the lens to shaping a vision that is authentic. Photographer Lisa Kereszi, a student of Larry Fink, provides the introduction.Larry Fink (born 1941) has been a professor at Yale University School of Art; Cooper Union School of Art and Architecture; Parsons the New School for Design; and Tyler School of Art, Temple University. Currently, he is a tenured professor of photography at Bard College. His work has been widely exhibited in the United States, including solo exhibitions at Light Gallery, New York; Massachusetts Institute of Technology, Cambridge; Museum of Modern Art, New York; and San Francisco Museum of Modern Art.Lisa Kereszi is a photographer and educator. She is now the director of undergraduate studies at the Yale University School of Art, where she has taught since 2004. She has published five books, including "Fun and Games" and "Joe's Junk Yard." Her work is in the collections of the Whitney Museum of American Art, New York, and the Brooklyn Museum, and has appeared in the "New Yorker," "Harper's" and the "New York Times Magazine."

    Manifestoes of Surrealism is a book by André Breton, describing the aims, meaning, and political position of the Surrealist movement.The translators of this edition were finalists of the 1970 National Book Awards in the category of translation.

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

    He was Robert Capa, the brilliant and daring photojournalist, and Collier's magazine had put him on assignment to photograph the war raging in Europe. In these pages, Capa recounts his terrifying journey through the darkest battles of World War II and shares his memories of the men and women of the Allied forces who befriended, amused, and captivated him along the way. His photographs are masterpieces -- John G. Morris, Magnum Photos' first executive editor, called Capa "the century's greatest battlefield photographer" -- and his writing is by turns riotously funny and deeply moving. From Sicily to London, Normandy to Algiers, Capa experienced some of the most trying conditions imaginable, yet his compassion and wit shine on every page of this book. Charming and profound, Slightly Out of Focus is a marvelous memoir told in words and pictures by an extraordinary man.

    Air Guitar pioneered a kind of plain-talking in cultural criticism, willingly subjective and always candid and direct. A valuable reading tool for art lovers, neophytes, students and teachers alike, Hickey's book--now in its eighth printing--has galvanized a generation of art lovers, with new takes on Norman Rockwell, Robert Mapplethorpe, Stan Brakhage, Andy Warhol and Perry Mason. In June 2009, Newsweek voted Air Guitar one of the top 50 books that "open a window on the times we live in, whether they deal directly with the issues of today or simply help us see ourselves in new and surprising ways," and described the book as "a seamless blend of criticism, personal history, and a deep appreciation for the sheer nuttiness of American life."Dave Hickey (born 1939) is one of today's most revered and widely read art writers. He has written for Rolling Stone, Art News, Art in America, Artforum and Vanity Fair among many others.

    A woman floats in her flooded living room, a cow appears to have fallen from the sky onto a front lawn, a gang of teenagers, seemingly hypnotized, pile up household objects for a bonfire. Created as elaborately staged tableaux, this series of images suggests the bizarre yet beautiful surrealities behind deceptively familiar suburban facades.Scheduled to accompany three simultaneous gallery exhibitions in Spring 2002 and a subsequent retrospective at Mass MoCA, this book chronicles the completion of the Twilight series, which Crewdson began in 1998. Including both production stills and the 40 finished images, all in full color, it also features an essay by Rick Moody, a novelist equally renowned for exposing the underbelly of small-town, middle-class America.

    Although Edward Steichen had exhibited some of Leiter's color photography at The Museum of Modern Art in 1953, it remained virtually unknown to the world thereafter. Leiter moved to New York in 1946 to become a painter, but through his friendship with Richard Pousette-Dart he quickly recognized the creative potential of photography. Leiter continued to paint, exhibiting with Philip Guston and Willem de Kooning, but the camera remained his ever-present means of recording life in the metropolis. None of Leiter's contemporaries, with the partial exception of Helen Levitt, assembled a comparable body of work: subtle, often abstract compositions of lyrical, eloquent color.

    On its first publication, the reviewer of Books observed: "It is impossible not to admire this painter as writer ... (Dalí) succeeds in doing exactly what he sets out to do ... communicates the snobbishness, self-adoration, comedy, seriousness, fanaticism, in short the concept of life and the total picture of himself he sets out to portray." Superbly illustrated with over eighty photographs of Dalí and his works, and scores of Dalí drawings and sketches.

    Sensuous in detail and raw in subject, Sleeping by the Mississippi elicits a consistent mood of loneliness, longing, and reverie. "In the book's 46 ruthlessly edited pictures," writes Anne Wilkes Tucker, "Soth alludes to illness, procreation, race, crime, learning, art, music, death, religion, redemption, politics, and cheap sex." Like Robert Frank's classic The Americans, Sleeping by the Mississippi merges a documentary style with a poetic sensibility. The Mississippi is less the subject of the book than its organizing structure. Not bound by a rigid concept or ideology, the series is created out of a quintessentially American spirit of wanderlust.