Kevin Aucoin shares his secrets, explaining not only the basics of makeup application and technique but also how to use the fundamentals to create a wide range of different looks.

    He continues to be cited as a major influence on contemporary artists and designers working across the creative arts.   This book, published to accompany the blockbuster international exhibition launched at London’s Victoria and Albert Museum, is the only volume that grants access to Bowie’s personal archive of performance costumes, ephemera, and original design artwork by the artist, bringing it together to present a completely new perspective on his creative work and collaborations. The book traces his career from its beginnings in London, through the breakthroughs of  Space Oddity and The Rise and Fall of Ziggy Stardust and the Spiders from Mars, and on to his enormous impact on 20th-century avant-garde music and art. Essays by V&A curators on Bowie’s London, image, and influence on the fashion world are complemented by Howard Goodall on musicology; Camille Paglia on gender and decadence, and Jon Savage on Bowie’s relationship with William Burroughs and his fans. The more than 300 color illustrations include personal and performance photographs, album covers, costumes, original lyric sheets, and much more.   Praise for David Bowie Is: “Perusing David Bowie Is (V&A Publishing, distributed by Abrams), the exhibition’s catalog, with its procession of poses and costumes and weighty essays tracking the cross-references to pop culture and high art, you get a sense of how much hard work it took to be Mr. Bowie.” —The New York Times “The fans of 50 years or those making discoveries in retrospect will be intrigued by the accompanying book David Bowie Is that is far more than a fanzine.”—The New York Times “Lends context and picks away at Bowie with such insight that it’s a rare hagiography with soul.” —Chicago Tribune “Combining top-notch articles on the singer/actor’s life and work with official images and reproductions of his fashion and associated ephemera, the hefty, mango-colored book is nothing short of a treasure trove of all things Bowie; a one-stop smorgasbord for the eyes whose pictorials chronicle the groundbreaking star from Ziggy Stardust to Thin White Duke to Heathen and every personality in between.” —Examiner.com

    Lesy has collected and arranged photographs taken between 1890 and 1910 by a Black River Falls photographer, Charles Van Schaik.

    (He had a very big bed.) "Confessions of a Late Night Talk Show Host" is a Hollywood autobiography like no other because it reveals all -- the loves and losses, the pain and joy, the shrinks and doctors -- and it is uproariously funny. Larry Sanders has written a book that will have the same ten-year run that his show did. Larry Sanders is no ordinary man, and this book will show America and the world how very different he is. Fueled by an enormous need to be loved and gifted with a talent beyond even his own, Sanders has risen to the top of his field -- and dropped -- while retaining all of his dignity and modesty. As he says on the first page of his story, "I'm famous. Actually, I'm very, very, very famous." Sanders's story is laced with the names (and some of the faces) of the thousands of celebrities who have sought his attention for a decade -- and Sanders tells the world what he thinks of all of them, even if it hurts his own feelings."Confessions of a Late Night Talk Show Host" is a Hollywood tell-all that will forever change the nature of this kind of book. While Geraldo Rivera used his sexual exploits to shamelessly promote his book, Sanders uses his conquests of thousands of women to illustrate his compassion and grace. "If it sells, it sells," Sanders says. "There was never a hidden agenda." While Roseanne used her book to promote her manypersonalities, Sanders's book shows how a straight-shooter can not only survive but thrive in Hollywood. Most of all, Sanders, in truthfully disclosing all aspects of his life and those of people he has never met, hopes to heal and entertain. Sanders has written a wonderfully hilarious book that will make some of his fans wish he were back.

    Since nobody photographs libraries as beautifully as Hofer, it seemed only natural to dedicate one of her publications to the splendid and intimate cathedrals of knowledge across Europe and the US: the Escorial in Spain, the Whitney Museum in New york, Villa Medici in Rome, the Hamburg University library, the Bibliotheque nationale de France in Paris, the Museo Archeologico in Madrid, and Pierpont Morgan Library in New York, to name just a few. Almost completely devoid of people, as is Candida Hofer's trademark, these pictures radiate a comforting serenity that is exceptional in contemporary photography. Now available in an unchanged reprint.

    "A dazzling kaleidoscope from the gaze of an artist who saw beauty at every turn."--Andr� Leon TalleyBill Cunningham's photography captured the evolution of style, of trends, and of the everyday, both in New York City and in Paris. But his work also shows that street style is not only about fashion; it's about the people and the changing culture.These photographs--many never before seen, others having originally appeared in The New York Times and elsewhere--move from decade to decade, beginning in the 1970s and continuing until Cunningham's death in 2016. Here you'll find Cunningham's distinctive chronicling of the 1980s transit strike, the rise of 1990s casual Fridays, the sadness that fell over the city following 9/11, Inauguration Day 2009, the onset of selfies, and many other significant moments.This enduring portfolio is enriched by essays that provide a revealing portrait of Cunningham and a few of his many fascinations and influences, contributed by Cathy Horyn, Tiina Loite, Vanessa Friedman, Ruth La Ferla, Guy Trebay, Penelope Green, Jacob Bernstein, and a much favored subject, Anna Wintour. More than anything, On the Street is a timeless representation of Cunningham's commitment to capturing the here and now."An absolute delight."--People

    In particular, his residential work has been the subject of continuing interest and controversy. Wright's Fallingwater (1935), the seminal masterpiece perched over a waterfall deep in the Pennsylvania highlands, is perhaps the best-known private house in the history of the world. In fact, Wright's houses-from his Prairie style Robie House (1906) in Chicago, to the Storer (1923) and Freeman (1923) houses in Los Angeles, and Taliesen West (1937) in the Arizona desert-are all touchstones of modern architecture. For the first time, all 289 extant houses are shown here in exquisite color photographs. Along with Weintraub's stunning photos and a selection of floor plans and archival images, the book includes text and essays by several leading Wright scholars. Frank Lloyd Wright: The Houses is an event of great importance and a major contribution to the literature on this titan of modern architecture.

    Marina Amaral uses digital techniques, underpinned by painstaking research, to colourise 200 such images embracing an entire century of world history. The results are revelatory, transforming the monochrome of early photography into the vibrant hues of real life. Statesmen and soldiers, as well as the faces of hundreds of ordinary people, thus appear in dramatically vivid guise. The images are organized in ten chronological chapters. Each image is accompanied by a 200-word caption by best-selling historian Dan Jones, telling the stories behind them. A fusion of amazing pictures and well-chosen words, The Colour of Time offers a unique – and often beautiful – perspective on the past.

    Henry Clay, Daniel Webster, Dolley Madison, Henry James as a boy with his father, Horace Greeley, Edgar Allan Poe, the Prince of Wales, and Jenny Lind were among the dignitaries photographed in Mathew Brady's studio. But it was during the Civil War that he became the founding father of what is now called photojournalism and his photography became an enduring part of American history.The Civil War was the first war in history to leave a detailed photographic record, and Mathew Brady was the war's chief visual historian. Previously, the general public had never seen in such detail the bloody particulars of war--the strewn bodies of the dead, the bloated carcasses of horses, the splintered remains of trees and fortifications, the chaos and suffering on the battlefield. Brady knew better than anyone of his era the dual power of the camera to record and to excite, to stop a moment in time and to draw the viewer vividly into that moment.He was not, in the strictest sense, a Civil War photographer. As the director of a photographic service, he assigned Alexander Gardner, James F. Gibson, and others to take photographs, often under his personal supervision; he also distributed Civil War photographs taken by others not employed by him. Ironically, Brady had accompanied the Union army to the first major battle at Bull Run, but was so shaken by the experience that throughout the rest of the war he rarely visited battlefields, except well before or after a major battle. The famous Brady photographs at Antietam were shot by Gardner and Gibson.Few books about Brady have gone beyond being collections of the photographs attributed to him, accompanied by a biographical sketch. MATHEW BRADY will be the biography of an American legend--a businessman, an accomplished and innovative technician, a suave promoter, a celebrated portrait artist, and, perhaps most important, a historian who chronicled America during its finest and gravest moments of the 19th century.

    Her bold subject matter and photographic approach have established her preeminence in the world of the visual arts. Her gift for rendering strange those things we consider most familiar, and uncovering the familiar within the exotic, enlarges our understanding of ourselves. Diane Arbus Revelations affords the first opportunity to explore the origins, scope, and aspirations of what is a wholly original force in photography. Arbus’s frank treatment of her subjects and her faith in the intrinsic power of the medium have produced a body of work that is often shocking in its purity, in its steadfast celebration of things as they are. Presenting many of her lesser-known or previously unpublished photographs in the context of the iconic images reveals a subtle yet persistent view of the world. The book reproduces two hundred full-page duotones of Diane Arbus photographs spanning her entire career, many of them never before seen. It also includes an essay, “The Question of Belief,” by Sandra S. Phillips, senior curator of photography at the San Francisco Museum of Modern Art, and “In the Darkroom,” a discussion of Arbus’s printing techniques by Neil Selkirk, the only person authorized to print her photographs since her death. A 104-page Chronology by Elisabeth Sussman, guest curator of the San Francisco Museum of Modern Art show, and Doon Arbus, the artist’s eldest daughter, illustrated by more than three- hundred additional images and composed mainly of previously unpublished excerpts from the artist’s letters, notebooks, and other writings, amounts to a kind of autobiography. An Afterword by Doon Arbus precedes biographical entries on the photographer’s friends and colleagues by Jeff L. Rosenheim, associate curator of photographs at The Metropolitan Museum of Art. These texts help illuminate the meaning of Diane Arbus’s controversial and astonishing vision.

    August 06, 2011, 2:20 a.m.—Operation Lefty Grove is underway, a highly dangerous mission to take out another high-level Taliban operative, three months after the death of Osama Bin Laden. In the dark of night, twenty-five US Special Ops Forces and a five-man flight crew on board Extortion 17, a CH-47 Chinook helicopter. Seven unidentified Afghan Commandos are allowed to join them. Ground forces have already been engaged in a three-hour exhaustive battle. Extortion 17’s specially trained warriors drop into the Hot Landing Zone to help their fellow warriors. But there’s a problem: the standard chopper escorts have all been directed elsewhere. Mission directions are unclear. Worse, pre-assault fire to cover the Chinook transporting our brave fighting men is not ordered.

    Over the years it has become encrusted with myth and error. Scores of writers have produced accounts of it, but few have made any real effort to separate fact from fiction. Novelists, motion picture producers, television script writers, and others have sensationalized events that needed no embellishment.Using court records, public documents, official correspondence, and other documentary evident, Otis K. Rice presents an account that frees, as much as possible, fact from fiction, event from legend. He weighs the evidence carefully, avoiding the partisanship and the attitude of condescension and condemnation that have characterized many of the writings concerning the feud.He sets the feud in the social, political, economic, and cultural context of eastern Kentucky and southwestern West Virginia in the late nineteenth and early twentieth centuries. By examining the legacy of the Civil War, the weakness of institutions such as the church and education system, the exaggerated importance of family, the impotence of the law, and the isolation of the mountain folk, Rice gives new meaning to the origins and progress of the feud. These conditions help explain why the Hatfield and McCoy families, which have produced so many fine citizens, could engage in such a bitter and prolonged vendetta

    Through fever, heartache, and isolation they labored to translate the Bible into the Nabak language. Then, on the eve of a New Testament in Nabak, Grace finds her husband murdered and her world decimated. Join Grace as she faces her darkest days and ultimately finds that God's grace is sufficient at all times.

    It is a collection of street fashion unlike any seen before—focused on the over-60 set in the world’s most stylish locales. The (mostly) ladies of Advanced Style are enjoying their later years with grace and panache, marching to the beat of their own drummer. These timeless images and words of wisdom provide fashion inspiration for all ages and prove that age is nothing but a state of mind.Ari Seth Cohen started his blog inspired by his own grandmother’s unique personal style and his lifelong interest in the put-together fashion of vibrant seniors. Each of his subjects sparkles like a diamond after long years spent refining and perfecting their individual look and approach to life. The Advanced Style book will showcase, in luscious full-color, the best of the blog, but will also act as a true guidebook with all-new material featuring wardrobes, interviews, stories, and advice from a cadre of his most chic subjects, along with a large selection of never-before-seen photography—fresh off of sidewalk catwalks around the world!

    The melancholy of seeing things for the last time is the highly mysterious and poetic essence that these images leave with us. It is as though Andrei wanted to transmit his own enjoyment quickly to others. And they feel like a fond farewell."Tonino Guerra, from the IntroductionThis beautifully produced book comprises sixty Polaroid photographs of Andrei Tarkovsky's friends and family, taken between 1979 and 1984 in his native Russia and in Italy, where he spent time in political exile.The size of the Polaroids is exactly as presented in the book, including the frame. The book may therefore be viewed as a facsimile edition. 60 color illustrations.