The legendary curator John Szarkowski, director emeritus of the Department of Photography at New York's Museum of Modern Art, has painstakingly selected what he considers Adams' finest work and has attempted to find the single best photographic print of each. Szarkowski writes that "Ansel Adams at 100 is the product of a thorough review of work that Adams, at various times in his career, considered important. It includes many photographs that will be unfamiliar to lovers of Adams' work, and a substantial number that will be new to Adams scholars. The book is an attempt to identify that work on which Adams' claim as an important modern artist must rest." Ansel Adams at 100-the highly acclaimed international exhibition and the book, with Szarkowski's incisive critical essay-is the first serious effort since Adams' death in 1984 to reevaluate his achievement as an artist. The exhibition prints, drawn from important public and private collections, have been meticulously reproduced in tritone to create the splendid plates in this edition, faithfully rendering the nuances of the original prints. Ansel Adams at 100 is destined to be the definitive book on this great American artist. John Szarkowski is director emeritus of the Department of Photography, The Museum of Modern Art, New York. He is the author of such classic works as Looking at Photographs, The Photographer's Eye, Photography Until Now, and Atget, as well as several books of his own photographs, including the recently reissued The Idea of Louis Sullivan.

    The masterful blending of text and photos sweeps readers into a maelstrom of monsters watching from above--a nightmare in the sky. 24 full-color photos, 100 duotones.

    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.

    Life certainly isn't. The sole inevitability of existence, the only sure consequence of being alive, is death. In these eloquent and surprising essays, twenty writers face this fact, among them Geoff Dyer, who describes the ghost bikes memorializing those who die in biking accidents; Jonathan Safran Foer, proposing a new way of punctuating dialogue in the face of a family history of heart attacks and decimation by the Holocaust; Mark Doty, whose reflections on the art-porn movie Bijou lead to a meditation on the intersection of sex and death epitomized by the AIDS epidemic; and Joyce Carol Oates, who writes about the loss of her husband and faces her own mortality. Other contributors include Annie Dillard, Diane Ackerman, Peter Straub, and Brenda Hillman.

    Boorstin explores the development of artistic innovation over 3,000 years. A hugely ambitious chronicle of the arts that Boorstin delivers with the scope that made his Discoverers a national bestseller.

    This new edition includes 52 tritone photos printed in a large format. The text from the original edition--by John Szarjowski, former director of photography at the Museum of Modern Art--is reprinted here, along with a new Introduction by Susan Sontag.

    Fisher searches for the traces of these lost futures in the work of David Peace, John Le Carré, Christopher Nolan, Joy Division, Burial and many others.

    From Holbein to Hockney, from Norman Rockwell to Pablo Picasso, from sixteenth-century Rome to 1980s SoHo, Robert Hughes looks with love, loathing, warmth, wit and authority at a wide range of art and artists, good, bad, past and present.   As art critic for Time magazine, internationally acclaimed for his study of modern art, The Shock of the New, he is perhaps America’s most widely read and admired writer on art.  In this book:  nearly a hundred of his finest essays on the subject.   For the realism of Thomas Eakins to the Soviet satirists Komar and Melamid, from Watteau to Willem de Kooning to Susan Rothenberg, here is Hughes—astute, vivid and uninhibited—on dozens of famous and not-so-famous artists.  He observes that Caravaggio was “one of the hinges of art history; there was art before him and art after him, and they were not the same”; he remarks that Julian Schnabel’s “work is to painting what Stallone’s is to acting”; he calls John Constable’s Wivenhoe Park “almost the last word on Eden-as-Property”; he notes how “distorted traces of [Jackson] Pollock lie like genes in art-world careers that, one might have thought, had nothing to do with his.”  He knows how Norman Rockwell made a chicken stand still long enough to be painted, and what Degas said about success (some kinds are indistinguishable from panic).   Phrasemaker par excellence, Hughes is at the same time an incisive and profound critic, not only of particular artists, but also of the social context in which art exists and is traded.  His fresh perceptions of such figures as Andy Warhol and the French writer Jean Baudrillard are matched in brilliance by his pungent discussions of the art market—its inflated prices and reputations, its damage to the public domain of culture.  There is a superb essay on Bernard Berenson, and another on the strange, tangled case of the Mark Rothko estate.  And as a finale, Hughes gives us “The SoHoiad,” the mock-epic satire that so amused and annoyed the art world in the mid-1980s.   A meteor of a book that enlightens, startles, stimulates and entertains.

    Using a treasure trove of Wright family correspondence and diaries, Tom Crouch skillfully weaves the story of the airplane's invention into the drama of a unique and unforgettable family. He shows us exactly how and why these two obscure bachelors from Dayton, Ohio, were able to succeed where so many better-trained, better-financed rivals had failed.

    Fifteen chapters discuss subjects including the death system, causes of death, transition fro

    In addition to all the essential information any fan needs—the complete 2006 match schedule, results from past tournaments, facts and figures about the nations, players, teams, and referees—here are essays that shine a whole new light on soccer and the world.Former Foreign Minister of Mexico Jorge G. Castañeda invites George W. Bush to watch a game.Novelist Robert Coover remembers soccer in Spain after the death of General Francisco Franco.Dave Eggers on America, and the gym teachers who kept it free from communism.Time magazine's Tokyo bureau chief Jim Frederick shows how soccer is displacing baseball in Japan.Novelist Aleksandar Hemon proves, once and for all, that sex and soccer do not mix.Novelist John Lanchester describes the indescribable: the beauty of Brazilian soccer.The New Yorker's Cressida Leyshon on Trinidad and Tobago, 750-1 underdogs.Fever Pitch author Nick Hornby on the conflicting call of club and country.Plus an afterword by Franklin Foer on the form of government most likely to win the World Cup.

    In August 1974, a young Frenchman named Philippe Petit boldly—and illegally—fixed a rope between the tops of the still-young Twin Towers, a quarter mile off the ground. At daybreak, thousands of spectators gathered to watch in awe and adulation as he traversed the rope a full eight times in the course of an hour. In Man on Wire, Petit recounts the six years he spent preparing for this achievement. It is a fitting tribute to those lost-but-not-forgotten symbols of human aspiration—the Twin Towers. 120 black & white illustrations

    . . a blueprint for this moment and the next, for where Black folks have been and where they might be going."--The New York Times Book Review (Editors' Choice) What does it mean to be Black and alive right now? Kimberly Drew and Jenna Wortham have brought together this collection of work--images, photos, essays, memes, dialogues, recipes, tweets, poetry, and more--to tell the story of the radical, imaginative, provocative, and gorgeous world that Black creators are bringing forth today. The book presents a succession of startling and beautiful pieces that generate an entrancing rhythm: Readers will go from conversations with activists and academics to memes and Instagram posts, from powerful essays to dazzling paintings and insightful infographics.In answering the question of what it means to be Black and alive, Black Futures opens a prismatic vision of possibility for every reader.

    In the insightful How Music Works, Byrne offers his unique perspective on music - including how music is shaped by time, how recording technologies transform the listening experience, the evolution of the industry, and much more.

    Includes a facsimile reproduction of the 1942 Surrealist Album by Andre Breton.