Spanning a period of forty years, David Lynch's widely respected films and television series include "Eraserhead, The Elephant Man, Blue Velvet, Twin Peaks, Lost Highway," and "Mulholland Drive," However, his prolific visual art production, which began even before his films, has rarely been seen. This catalogue of his artistic output, published on the occasion of a large-scale exhibition at the Fondation Cartier in Paris, covers a wide variety of disciplines: painting, photography, drawings, sculpture, furniture, music, and "moving pictures." His art echoes his films in theme and aesthetic, yet offers viewers a fresh and more intimate glimpse into his singular universe. The book also contains several essays that analyze his artworks, as well as a conversation with Lynch, interviewed within the context of the show. 469 illustrations in color.

    This collection takes a Japanese perspective into the secrets of his appeal, from his life philosophy and lyricism to masterful colors and compositions reminiscent of ukiyo-e. Some two hundred works—including early street photographs, images for advertising, nudes, and paintings—cover Leiter’s career from the 1940s onward, accompanied by quotations from the artist himself that express his singular worldview. Saul Leiter was born in 1923 in Pittsburgh. He pioneered a painterly approach to color photography in the 1940s and produced covers for fashion magazines such as Vogue and Harper’s Bazaar before largely withdrawing from public attention in the 1980s. The publication of his first collection, Early Color, by Steidl in 2006 inspired an avid “rediscovery” that has since led to worldwide exhibitions and the release of a documentary, In No Great Hurry: 13 Lessons in Life with Saul Leiter (2014). He died in New York in 2013.size: 210 × 148 × 28 mmbinding: softcoverlanguage: english/japanese

    . . until he meets Jeopardy. Cleo is a child-bride of a poisoner, until one of Jeopardy's offspring is brought to her home for disposal and she falls in love with both the child and his father. . . Jeopardy. Delilah is orphaned when a berserker named Trajan attacks and kills everyone in her village. She is the only one who is immune to the plague that Trajan carries, and promises to watch over him as he returns to the sanctuary. . . of Jeopardy. Dauntless Javelot is a chivalrous knight of Ixmarity on his last campaign. . . until he joins Cleo on her journey to seek Jeopardy. Lord Pliance is a courtly vampire who accompanies the pilgrims in the hopes for a cure. . . from Jeopardy. And as they all seek the elusive Jeopardy, they are haunted by a ruthless adversary. Wilfish Implexion is an ecclesiarch in the Church of Ixmarity. Threatened by the power of the pagan Jeopardites, he will use any means possible to kill their prophet. . . Jeopardy! And what of Resenence Jeopardy himself? Is he all that he seems? What is the secret of his charismatic power. . . and what will he decide to do with it? This is the first U.S. edition of Sign for the Sacred, and includes a new introduction by the author. Also included is the original first draft of the beginning of the novel, when it was called "Prophet Dancer," as well as the first four chapters of an aborted sequel titled "Death by Sweetness."

    "This is one life, and the personal pictures and the assignment work are all part of it." Portraits of well-known figures-Johnny Cash, Nicole Kidman, Mikhail Baryshnikov, Keith Richards, Michael Jordan, Joan Didion, R2-D2, Patti Smith, Nelson Mandela, Jack Nicholson, William Burroughs, George W. Bush with members of his Cabinet-appear alongside pictures of Leibovitz's family and friends, reportage from the siege of Sarajevo in the early Nineties, and landscapes made even more indelible through Leibovitz's discerning eye. The images form a narrative rich in contrasts and continuities: The photographer has a long relationship that ends with illness and death. She chronicles the celebrations and heartbreaks of her large and robust family. She has children of her own. All the while she is working, and the public work resonates with the themes of her life.

    Yvan Rodic, the photographer behind Facehunter.com, has compiled in this book his images that show his unerring sensibility for street style. He has traveled to nearly thirty countries, capturing real people, whose clothes reflect the incredible diversity of the world s cities. Character and charisma are what he prizes people who wear their clothes with confidence. The result is a contemporary portfolio of what s chic on the street, and an insightful predictor of what will be chic on the runway. Whether you re fashion forward, backward, or sideways, you ll find something inspiring in this radical, personal, and unpredictable book of street style around the world.

    Tete a Tete is a remarkable arrangement of his most memorable portraits, including Pablo Picasso, Truman Capote, Marilyn Monroe, Lucien Freud, William Faulkner, Robert Kennedy, Che Guevara, Martin Luther King Jr., Coco Chanel, and the Dalai Lama. Beyond these famous names there are also anonymous portraits, chosen for their striking and unusual features, and a selection of pencil drawings, including a self-portrait. Cartier-Bresson supervised the design of the book and the juxtaposition of all the photographs. The result is a distinguished collection of his work, diverse in its range of extraordinary and ordinary personalities from the 1930s to the 1990s. Tete a Tete reveals Cartier-Bresson as a photographer who is as skillful in recording the subtleties of the individual portrait as he is renowned for his masterful ability to capture the decisive moment.

    These beautifully produced, pocket-sized books will provide exactly what is missing in ordinary travel guides: insights and imagination that lead the reader into those parts of a city no other guide can reach.A flaneur is a stroller, a loiterer, someone who ambles through a city without apparent purpose but is secretly attuned to the history of the place and in covert search of adventure, esthetic or erotic. Edmund White, who lived in Paris for sixteen years, wanders through the streets and avenues and along the quays, taking us into parts of Paris virtually unknown to visitors and indeed to many Parisians. Entering the Marais evokes the history of Jews in France, just as a visit to the Haynes Grill recalls the presence-festive, troubled-of black Americans in Paris for a century and a half. Gays, Decadents, even Royalists past and present are all subjected to the flaneur's scrutiny. Edmund White's The Flaneur is opinionated, personal, subjective. As he conducts us through the bookshops and boutiques, past the monuments and palaces, filling us in on the gossip and background of each site, he allows us to see through the blank walls and past the proud edifices and to glimpse the inner, human drama. Along the way he recounts everything from the latest debates among French law-makers to the juicy details of Colette's life in the Palais Royal, even summoning up the hothouse atmosphere of Gustave Moreau's atelier.

    At the heart of the park is Faggotland, a playland for gay men, and Castle Faggot, the darkest dark ride in the world. Home to a cartoon Dracula called Count Choc-o-log, the castle is decorated with the corpses of gays—some were killed, some killed themselves, all ended up as décor.The book includes a map of Faggotland, a photobook of the castle, the instructions for a castle-shaped dollhouse, and the novelization of a TV puppet show about Count Choc-o-log and his friends—reminiscent of the classic stop-motion special Rudolph the Red-Nosed Reindeer, but even gayer and more grotesque. As scatological as Sade but with a Hanna-Barbera vibe, Castle Faggot transmutes McCormack's love of the lurid and the childlike, of funhouses and sickhouses, into something furiously funny: as Edmund White says, “the mystery of objects, the lyricism of neglected lives, the menace and nostalgia of the past—these are all ingredients in this weird and beautiful parallel universe.”

    This book was conceived on a grand scale that does justice to his extraordinary life and the events he has witnessed. It forms one of the great documents of the latter part of the last century.The book begins and ends in the Somerset landscape that surrounds McCullin's home, but the whole sequence of more than two hundred photographs encompasses a ravaged northern England, war in Cyprus, Biafra, Vietnam, Cambodia, Beirut and riots in Derry. The climax of the book is among the cannibals and tribespeople deep in the jungles of Irian Jaya, where McCullin focuses on humanity in an almost Stone Age condition.The introduction by Harold Evans, the acclaimed newspaper editor and authority on photojournalism, is drawn from his long experience of working with McCullin. The distinguished novelist and essayist, Susan Sontag, has contributed an essay on McCullin and the role of witness to conflict - a subject of timely pertinence.

    Paris in the 1920s shimmers with excitement, dissipation, and freedom. It is a place of intoxicating ambition, passion, art, and discontent, where louche jazz venues like the Chameleon Club draw expats, artists, libertines, and parvenus looking to indulge their true selves. It is at the Chameleon where the striking Lou Villars, an extraordinary athlete and scandalous cross-dressing lesbian, finds refuge among the club's loyal denizens, including the rising Hungarian photographer Gabor Tsenyi, the socialite and art patron Baroness Lily de Rossignol; and the caustic American writer Lionel Maine. As the years pass, their fortunes - and the world itself - evolve. Lou falls desperately in love and finds success as a race car driver. Gabor builds his reputation with startlingly vivid and imaginative photographs, including a haunting portrait of Lou and her lover, which will resonate through all their lives. As the exuberant twenties give way to darker times, Lou experiences another metamorphosis - sparked by tumultuous events - that will warp her earnest desire for love and approval into something far more.

    Dani is befriended--against her own better judgment--by a young therapist named Grace Beaumont, who helps Dani make it through the ordeal of bringing the attacker to justice.

    Go behind the pen and into the psyche of dyke to watch out for Alison Bechdel--cartoon chronicler extraordinaire--as the inner workings of lesbiania's most quick-witted, longest-running social commentator are revealed.

    Advice on conflict resolution and genuine intimacy. The author doesnt forget to include treatments on couple crises, ruptures, and the mourning of heartbreak as a previous step to be prepared to fall in love again.

    The image didn t just bring revered faces together for the first time; it marked the beginning of a new fashion era and a new understanding of female beauty. Coinciding with his major retrospective at the Kunsthal in Rotterdam, the Netherlands, this book gathers more than 400 images from four decades of Lindbergh s photography to celebrate his unique and game-changing storytelling and the new romantic and narrative vision it brought to art and fashion. Whether in striking single portraits or dramatic situations of figure and setting, we trace the photographer s cinematic inflections and his provocative play with female archetypes as subjects adopt the guise of dancers, actresses, heroines, and femmes fatales. Raw and seductive at once, we see how Lindbergh s trademark monochrome pictures also redefined standards of beauty by emphasizing spirit and personality as much as looks, celebrating the elegance and sensuality of older women, and privileging natural and authentic beauty in an era of pervasive retouching. In a testimony to Lindbergh s illustrious status in the fashion world, his images are contextualized by commentaries from collaborators such as Jean Paul Gaultier, Nicole Kidman, Grace Coddington, Cindy Crawford, and Anna Wintour, who chose Lindbergh to shoot her first US Vogue cover. Their tributes explain what makes Lindbergh s images so unique and powerful. Exhibition Peter Lindbergh. A Different History of Fashion at Kunsthal, Rotterdam, The Netherlands, September 10, 2016 February 12, 2017Text in English, French, and German"

    An honest and moving story of youth and friendship, Smith brings the same unique, lyrical quality to Just Kids as she has to the rest of her formidable body of work--from her influential 1975 album Horses to her visual art and poetry.