Among significant mid-century interiors, none are more celebrated yet underpublished as the homes created by architects and interior designers for themselves. This collection of newly commissioned photographs presents the most compelling homes by influential mid-century designers, such as Russel Wright, George Nakashima, Harry Bertoia, Charles and Ray Eames, and Eva Zeisel, among others. Intimate as well as revelatory, Williamson’s photographs show these creative homes as they were lived in by their designers: Walter Gropius’s historic Bauhaus home in Massachusetts; Albert Frey’s floating modernist aerie on a Palm Springs rock outcropping; Wharton Esherick’s completely handmade Pennsylvania house, from the organic handcarved staircase to the iconic furniture. Personal and breathtaking by turn—these homes are exemplary studies of domestic modernism at its warmest and most creative.

    Includes a chronological essay on death in America, as well as a bibliography.Sleeping Beauty is coveted for having played a large role in the rediscovery of the normalcy of postmortem photography. In 1990, Dr. Stanley B. Burns' landmark publication Sleeping Beauty, Memorial in Photography in America, ushered in a new era of appreciation of the importance of these images. Since the publication of Sleeping Beauty, exhibitions based on the 3-book series of memorial images have been created regularly. Perhaps the most prestigious was Le Dernier Portrait at Paris' Musée d'Orsay in 2002. To accompany the exhibit, Sleeping Beauty II: Grief, Bereavement and the Family, American & European Traditions was produced. In 2011, Sleeping Beauty III: Memorial Photography, The Children was written. Numerous other documentarians and feature filmmakers have utilized these poignant photographs, most notably in The Others. The Burns Archive serves as the premier source of images related to death, mourning and medial practices. Postmortem photography is the taking of a photograph of a deceased loved one, and was a normal part of American and European culture in the nineteenth and early twentieth centuries. It has nothing to do with images of violence, crime, or war. Death, and personally dealing with death, was prevalent throughout the entire world as epidemics would come quickly and kill quickly. Advances in medicine removed unexpected death from everyday life and professionals took over. Commissioned by grieving families, postmortem photographs not only helped in the grieving process, but often represented the only visual remembrance of the deceased and were among a family's most precious possessions. Mourning periods were based on family relationships and could last from months to years. Small photographs of the deceased were often carried in lockets or kept close to the body for greater intimacy. As many of the diseases that killed our ancestors were conquered and photography advanced during the century, society grew more and more distant from death, and practices, styles, and traditions of mourning and memorialization changed.The earliest postmortem photographs were often close-ups of the face or full body, at times depicted to appear lifelike or napping. Children were often positioned in a crib, posed with a favorite toy, or with a family member, most often the mother. Later photographs depict the subject in a coffin. Flowers, like forget-me-nots and calla lilies, were common in postmortem photography of all types. Later photographic memorials involve a shrine usually including a living portrait and flowers dedicated to the deceased.

    From the advent of photography in the 19th and into the 20th century, medical students, often in secrecy, took photographs of themselves with the cadavers that they dissected: their first patients. Featuring 138 of these historic photographs and illuminating essays by two experts on the subject, Dissection reveals a startling piece of American history. Sherwin Nuland, MD, said this is "a truly unique and important book [that] documents a period in medical education in a way that is matched by no other existing contribution." And Mary Roach said Dissection "is the most extraordinary book I have ever seen--the perfect coffee table book for all the households where I'd most like to be invited for coffee."

    This is the book Haring wanted to make, based on the outline of a monograph that was never completed due to his untimely death in 1989.

    L. Aronson.Richard Avedon was arguably the world's most famous photographer--as artistically influential as he was commercially successful. Over six richly productive decades, he created landmark advertising campaigns, iconic fashion photographs (as the star photographer for Harper's Bazaar and then Vogue), groundbreaking books, and unforgettable portraits of everyone who was anyone. He also went on the road to find and photograph remarkable uncelebrated faces, with an eye toward constructing a grand composite picture of America.Avedon dazzled even his most dazzling subjects. He possessed a mystique so unique it was itself a kind of genius--everyone fell under his spell. But the Richard Avedon the world saw was perhaps his greatest creation: he relentlessly curated his reputation and controlled his image, managing to remain, for all his exposure, among the most private of celebrities.No one knew him better than did Norma Stevens, who for thirty years was his business partner and closest confidant. In Avedon: Something Personal--equal parts memoir, biography, and oral history, including an intimate portrait of the legendary Avedon studio--Stevens and co-author Steven M. L. Aronson masterfully trace Avedon's life from his birth to his death, in 2004, at the age of eighty-one, while at work in Texas for The New Yorker (whose first-ever staff photographer he had become in 1992).The book contains startlingly candid reminiscences by Mike Nichols, Calvin Klein, Claude Picasso, Renata Adler, Brooke Shields, David Remnick, Naomi Campbell, Twyla Tharp, Jerry Hall, Mikhail Baryshnikov, Bruce Weber, Cindy Crawford, Donatella Versace, Jann Wenner, and Isabella Rossellini, among dozens of others.Avedon: Something Personal is the confiding, compelling full story of a man who for half a century was an enormous influence on both high and popular culture, on both fashion and art--to this day he remains the only artist to have had not one but two retrospectives at the Metropolitan Museum of Art during his lifetime. Not unlike Richard Avedon's own defining portraits, the book delivers the person beneath the surface, with all his contradictions and complexities, and in all his touching humanity.

    Aligned with the resurgence of feminism in pop culture, Broad Strokes offers an entertaining corrective to that omission. Art historian Bridget Quinn delves into the lives and careers of 15 brilliant female artists in text that's smart, feisty, educational, and an enjoyable read. Replete with beautiful reproductions of the artists' works and contemporary portraits of each artist by renowned illustrator Lisa Congdon, this is art history from 1600 to the present day for the modern art lover, reader, and feminist.

    Seeking to address the various challenges of off-camera lighting, professional photographers and advanced amateurs alike will find a range of confidence-building instruction, beginning with basic how’s and why’s of lighting for creative effect, the types of equipment available and instruction about their proper use, clear definitions of various technical concepts such as managing shutter speed and controlling flash exposure, using ambient light as well as natural sunlight during a shoot, and incorporating off-camera flash into a portrait session. Concluding this lesson plan is a look at five different real-life photo sessions, each employing a different flash technique. Here, photographers get a deeper understanding of each concept put into practice, marrying the elements of lighting with the natural elements presented by the shoot.

    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.

    In the brief years between the twentieth centurys two cataclysmic world wars, the modern metropolis was invented in Berlin. Life in Berlin was a cabaret, and Marlene Dietrich, Thomas Mann, Alfred Einstein, or Joseph Goebbels might be seated at the next table. The avant-garde thrived there. The mass media magnified the impact of everything from fads to political ideas. Subcultures and club cultures nurtured gender-bending fashions and lifestyles. Architects and designers struggled to free themselves from the past. In the background beat the new rhythms of urban experience: the coming and going of the latest planes and trains and automobiles, the clacking of typewriters in vast offices, the jazz band that never sleeps. Berlin: The Twenties is a book for history buffs, travelers, and lovers of modern art and design.

    Over the course of his life, Guston’s wide reading in literature and philosophy deepened his commitment to his art—from his early Abstract Expressionist paintings to his later gritty, intense figurative works. This collection, with many pieces appearing in print for the first time, lets us hear Guston’s voice—as the artist delivers a lecture on Renaissance painting, instructs students in a classroom setting, and discusses such artists and writers as Piero della Francesca, de Chirico, Picasso, Kafka, Beckett, and Gogol.

    The quick brushstrokes of the Impressionists suited his temperament, as did his heavy use of impasto. This helpful volume shows many of van Gogh's best loved works, including the famous self-portrait with a Bandaged Ear, painted after he had cut off part of his ear in a fit of madness, Sunflowers, which were to him a symbol of power and beneficence, and The Starry Night, a painting which clearly expresses intensity and mental turbulence.

    Now the charming and unconventional pooch has his own book, filled with more than a hundred all-new photographs and witty commentary to give fans an intimate and hilarious look at the Internet’s most prized pup. Tuna’s cartoonish looks—with an exaggerated overbite, a recessed jawline, and a wrinkly neck—are truly one of a kind. And yet his quirky appearance is no match for his unique perspective on life, overcoming his proclivity for staying in bed all day to keep his eye on the (bacon-flavored) prize. Teaming up with his owner, Courtney Dasher, Tuna shares a behind-the-scenes look at his daily exploits, which include sleeping, sunbathing, wearing bow ties, playing with toys, and melting hearts. Packed with witty and endearing images of this ridiculously adorable pup, Tuna Melts My Heart is sure to delight the underdogs in us all!

    Somehow he managed, in the midst of the chaos, to snap photographs that are works of art..." --Michael Azerrad, Screaming Life

    Thus began the romance of the most dynamic, productive and famous couple in American art. 8 pages of full-color photographs; 40 black-and-white photographs.

    Longtime skateboard artist Sean Cliver put together this staggering survey of over 1,000 skateboard graphics from the last 30 years, creating an indispensable insiders' history as he did so.Alongside his own history, Sean has assembled a wealth of recollections and stories from prominent artists and skateboarders such as: Andy Howell, Barry McGee, Ed Templeton, Steve Caballero, and Tony Hawk.The end result is a fascinating historical account of art in the skateboard subculture, as told by those directly involved with shaping its legendary creative face.