Throughout Europe and America, artists and intellectuals banded together to portray women as static and unindividuated beings who functioned solely in a sexual and reproductive capacity, thus formulating many of the anti-feminine platitudes that today still constrain women's potential. Bram Dijkstra's Idols of Perversity explores the nature and development of turn-of-the-century misogyny in the works of hundreds of writers, artists, and scientists, including Zola, Strindberg, Wedekind, Henry James, Rossetti, Renoir, Moreau, Klimt, Darwin, and Spencer. Dijkstra demonstrates that the most prejudicial aspects of Evolutionary Theory helped to justify this wave of anti-feminine sentiment. The theory claimed that the female of the species could not participate in the great evolutionary process that would guide the intellectual male to his ultimate, predestined role as a disembodied spiritual essence. Darwinists argued that women hindered this process by their willingness to lure men back to a sham paradise of erotic materialism. To protect the male's continued evolution, artists and intellectuals produced a flood of pseudo-scientific tracts, novels, and paintings which warned the world's males of the evils lying beneath the surface elegance of woman's tempting skin. Reproducing hundreds of pictures from the period and including in-depth discussions of such key works as Dracula and Venus in Furs, this fascinating book not only exposes the crucial links between misogyny then and now, but also connects it to the racism and anti-semitism that led to catastrophic genocidal delusions in the first half of the twentieth century. Crossing the conventional boundaries of art history, sociology, the history of scientific theory, and literary analysis, Dijkstra unveils a startling view of a grim and largely one-sided war on women still being fought today.

    In exploring the iconic ideal of the beautiful boy, whether a sculpture of Cupid or David, a painting by Caravaggio or Van Dyck, or a photograph by Nan Goldin or Sally Mann, Germaine Greer demolishes one of the last great Western taboos.

    Set amid the most turbulent social and political period of modern times, Ninth Street Women is the impassioned, wild, sometimes tragic, always exhilarating chronicle of five women who dared to enter the male-dominated world of twentieth-century abstract painting -- not as muses but as artists. From their cold-water lofts, where they worked, drank, fought, and loved, these pioneers burst open the door to the art world for themselves and countless others to come. Gutsy and indomitable, Lee Krasner was a hell-raising leader among artists long before she became part of the modern art world's first celebrity couple by marrying Jackson Pollock. Elaine de Kooning, whose brilliant mind and peerless charm made her the emotional center of the New York School, used her work and words to build a bridge between the avant-garde and a public that scorned abstract art as a hoax. Grace Hartigan fearlessly abandoned life as a New Jersey housewife and mother to achieve stardom as one of the boldest painters of her generation. Joan Mitchell, whose notoriously tough exterior shielded a vulnerable artist within, escaped a privileged but emotionally damaging Chicago childhood to translate her fierce vision into magnificent canvases. And Helen Frankenthaler, the beautiful daughter of a prominent New York family, chose the difficult path of the creative life. Her gamble paid off: At twenty-three she created a work so original it launched a new school of painting. These women changed American art and society, tearing up the prevailing social code and replacing it with a doctrine of liberation. In Ninth Street Women, acclaimed author Mary Gabriel tells a remarkable and inspiring story of the power of art and artists in shaping not just postwar America but the future.

    The original edition of American Photographs was a carefully prepared letterpress production, published by The Museum of Modern Art in 1938 to accompany an exhibition of photographs by Evans that captured scenes of America in the early 1930s. As noted on the jacket of the first edition, Evans, "photographing in New England or Louisiana, watching a Cuban political funeral or a Mississippi flood, working cautiously so as to disturb nothing in the normal atmosphere of the average place, can be considered a kind of disembodied, burrowing eye, a conspirator against time and its hammers." This seventy-fifth anniversary edition of American Photographs, made with new reproductions, recreates the original 1938 edition as closely as possible to make the landmark publication available for a new generation. American Photographs has fallen out of print for long periods of time since it was first published, and even subsequent editions--two of which altered the design and typography of the book in small but significant ways--are often available only at libraries and rare bookstores. This version, like the fiftieth-anniversary edition produced by the Museum in 1988, captures the look and feel of the very first edition with the aid of new digital technologies.

    Walker is one of the most exciting photographers of our time, and his flamboyant style—often tongue-in-cheek but always exquisitely executed—places him in the line of brilliant eccentrics from Cecil Beaton to David LaChapelle. Showcasing 170 photographs through Walker’s most recent work, the book features many A-listers in fashion and Hollywood, including Tilda Swinton, Helena Bonham Carter, and Alber Elbaz. The book includes a foreword by Kate Bush, an introduction by writer Robin Muir, and an afterword by Tim Walker.Praise for Tim Walker: Story Teller:“You’ll delight in the fashion photographer’s visual daydreams.” —DuJour magazine

    This visual narrative of astonishing sensitivity brings to light an until-now-unpublished collection of hundreds of snapshots, portraits, and group photos taken in the most varied of contexts, both private and public.Taken when male partnerships were often illegal, the photos here were found at flea markets, in shoe boxes, family archives, old suitcases, and later online and at auctions. The collection now includes photos from all over the world: Australia, Bulgaria, Canada, Croatia, France, Germany, Japan, Greece, Latvia, the United States, the United Kingdom, Russia, and Serbia. The subjects were identified as couples by that unmistakable look in the eyes of two people in love - impossible to manufacture or hide. They were also recognized by body language - evidence as subtle as one hand barely grazing another - and by inscriptions, often coded.Included here are ambrotypes, daguerreotypes, glass negatives, tin types, cabinet cards, photo postcards, photo strips, photomatics, and snapshots - over 100 years of social history and the development of photography.In these delight-filled pages, couples in love tell their own story for the first time at a time when joy and hope - indeed human connectivity - are crucial lifelines to our better selves. Universal in reach and overwhelming in impact, Loving speaks to our spirit and resilience, our capacity for bliss, and our longing for the shared truths of love.

    The unprecedented scope of this collection provides the opportunity to study his more composed, aesthetically structured images alongside his snapshots, which offer a more anecdotal account of Doisneau's Paris. Organized thematically, the book leads us on an entrancing tour through the gardens of Paris, along the Seine, and through the crowds of Parisians who define their beloved city. More than 600 photographs-many rare, forgotten, and previously unpublished-are assembled in this beautiful volume to create a unique portrait of Paris. From toddlers scrambling to cross rue de Rivoli to fresh-faced accordionists, from elegant dog walkers to exuberant roller skaters, and from the indelible kiss in front of the Hétel de Ville to cyclists beneath the Eiffel Tower, the magic of Paris in black and white is a timeless treasure. The photographs, edited by Doisneau's daughter, are complemented by citations from the photographer himself, which reveal his profound fascination with the city where he lived and worked.

    Beginning as the unofficial photographer for punk legends The Misfits and later taking charge of the bass guitar as a founding member of underground pioneers Samhain and metal gods Danzig, the evil eye of Eerie Von's camera captured the dark heart of rock's most vital and bleeding-edge period, a time when rock and roll was not only dangerous, but downright menacing. Eerie Von's lens has documented everything from The Misfits' humble beginnings in Lodi, New Jersey, to the heights of Danzig's stadium-rock glory alongside metal superstars Metallica. As well as an essential visual document of music history, Eerie's road stories of triumph and damnation bring to life an era the likes of which will never again be seen.

    Contains concept art and models of the game's characters, locations, and weapons, as well as artists' comments on the work and the game.Note:The Rapture Edition Art book is a reduced version of the Special Edition Art book made to be a value against the Special Edition. It is reduced to 96 pages, and scaled down to the dimensions of the game case itself.The Special Edition Art book is the main version of BioShock 2's art book. It is 168 pages and is composed of 10 chapters.♢Chapter 1 - Citizens of Rapture♢Chapter 2 - Big Daddies♢Chapter 3 - Big Sisters♢Chapter 4 - Little Sisters♢Chapter 5 - Environments♢Chapter 6 - Weapons♢Chapter 7 - User Interface♢Chapter 8 - Advertisements♢Chapter 9 - Storyboards♢Chapter 10 - Credits

    Never one to be shy of the spotlight, Dusty broke the mould as the first female entertainer to publicly admit she was bisexual, and was famously deported from South Africa for refusing to play to segregated audiences during apartheid in 1964, just a year after the launch of her solo career. Combining brand-new material, meticulous research and frank interviews with friends, lovers, employees and confidants, journalist Karen Bartlett reveals sensational new details about the soul diva’s unconventional upbringing, tumultuous relationships and unbridled addictions, including a lifelong struggle to come to terms with her sexuality. Named one of the Sunday Times’s best musical biographies of 2014, this is the intimate portrait of an immensely complicated and talented woman – the definitive account of one of music’s most legendary figures.

    Typical of Woodman's work in the way they cast the female body as simultaneously physical and immaterial, these photographs and the evocative title they share are apt choices to encapsulate the work of an artist whose legacy has been unavoidably colored by her tragic personal biography and her death, at age 22, by suicide. In less than a decade, Woodman produced a fascinating body of work--in black and white and in color--exploring gender, representation, sexuality and the body through the photographing of her own body and those of her friends. Since her death, Woodman's influence continues to grow: her work has been the subject of numerous in-depth studies and exhibitions in recent years, and her photographs have inspired artists all over the world. Published to accompany a travelling exhibition of Woodman's work, Francesca Woodman: On Being an Angel offers a comprehensive overview of Woodman's oeuvre, organized chronologically, with texts by Anna Tellgren, Anna-Karin Palm and the artist's father, George Woodman. Francesca Woodman (1958-81) was born in Denver, Colorado, to an artistic family and began experimenting with photography as a teenager. 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. Woodman's working career was intense but brief, cut short by her death in 1981.

    Porn stars, supermodels, transsexuals, hillbillies, friends, pets, and celebrities do for photographer Terry Richardson what they do for no other because in his world, taboos are null and void, and fashion finds sex a perfect fit.

    A seminal work of modern photojournalism, this landmark collection of photographs and interviews documents the abandon and risk implied in the name of the gang Lyon belonged to: the Chicago Outlaw Motorcycle Club. With images and interviews that are as raw, alive, and dramatic today as they were three decades ago, this new edition includes startling new images: 15 additional black-and-white photographs and 14 color prints--long thought missing--of works originally published in black-and-white. With a new introduction by the author, The Bikeriders rides again, capturing like never before the dawn of the counterculture era.

    Full page B&W photos

    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.