Biographer Marlene Wagman Geller gathers them all in this enchanting look at the lives and the gilded lives of wealthy women.

    

    His influential work spans many practices over a 23-year period, from music packaging to installation work to printmaking. Here, he reveals his personal notebooks, photographs, sketches, and abandoned routes to iconic Radiohead artworks. Arranged chronologically, each chapter is dedicated to a major work—whether an album cover, promotional piece, or a personal project—and is presented as a step-by-step working case study. Featuring commentary by Thom Yorke and never-before-seen archival material, this is the first deep dive into Donwood’s creative practice and the artistic freedom afforded to him by working for a major music act. It is a must-have for fans of the band and anyone interested in graphic design and popular culture.

    During her lifetime, she was best known as the flamboyant wife of celebrated muralist Diego Rivera. Theirs was a tumultuous relationship: Rivera declared himself to be "unfit for fidelity." As if to assuage her pain, Kahlo recorded the vicissitudes of her marriage in paint. She also recorded the misery of her deteriorating health--the orthopedic corsets that she was forced to wear, the numerous spinal surgeries, the miscarriages and therapeutic abortions. The artist's sometimes harrowing imagery is mitigated by an intentional primitivism and small scale, as well as by her sardonic humor and extraordinary imagination. In celebration of the one-hundredth anniversary of Kahlo's birth, this major new monograph is published on the occasion of the 2007-08 traveling exhibition. It features the artist's most renowned work--the hauntingly seductive and often brutal self-portraits--as well as a selection of key portraits and still lifes; more than 100 color plates, from Kahlo's earliest works, made in 1926, to her last, in 1954; critical essays by Elizabeth Carpenter, Hayden Herrera and Victor Zamudio-Taylor; and a selection of photographs of Kahlo and Rivera by preeminent photographers of the period, including Manuel Alvarez Bravo, Lola Alvarez Bravo, Gisele Freund, Tina Modotti and Nickolas Muray. The catalogue also contains snapshots from the artist's own photo albums of Kahlo with family and friends such as Andre Breton and Leon Trotsky--some of which have never been published, and several of which Kahlo inscribed with dedications, effaced with self-deprecating marks or kissed with a lipstick trace--plus an extensive illustrated timeline, selected bibliography, exhibition history and index.

    An internationalist and pacifist, Kahn believed that he could use the new autochrome—the world's first portable, true-color photographic process—to create a global photographic archive that would promote cross-cultural understanding and peace. Over the next twenty years, he sent a group of photographers to more than fifty countries around the world, amassing more than 72,000 images. Until recently his collection was all but forgotten. Now, a century after he began his "Archives of the Planet" project, this book—richly illustrated in color throughout—and the BBC series it follows are bringing Kahn's dazzling early twentieth-century pictures to a wide audience for the first time, and putting color into what we usually think of as a monochrome world.Kahn's photographers captured times, places, and people we simply do not expect to see in color photographs. They documented age-old cultures on the brink of being changed forever by war, modernization, and Westernization, recording the last years of Ireland's traditional Celtic villages and the late days of the Austro-Hungarian and Ottoman empires. They photographed First World War soldiers in their trenches as well as the postwar celebrations in London. In the course of their travels, they also took the earliest color photographs in countries as varied as Vietnam and Brazil, Mongolia and Norway, Benin and the United States.After being financially ruined in the Great Depression, Kahn was forced to bring his project to a premature end, but today his collection of early color photographs is recognized as one of the world's most important. The Dawn of the Color Photograph makes it easy to see why.

    From the funny memes that we send to our friends to the disturbing photographs we see in the news, we are consuming and producing images in quantities and ways that could never have been anticipated. In the process, we are producing a new worldview powered by changing demographics -- one where the majority of people are young, urban, and globally connected. In How to See the World, visual culture expert Nicholas Mirzoeff offers a sweeping look at history's most famous images -- from Velezquez's Las Meninas to the iconic "Blue Marble" -- to contextualize and make sense of today's visual world. Drawing on art history, sociology, semiotics, and everyday experience, he teaches us how to close read everything from astronaut selfies to Impressionist self-portraits, from Hitchcock films to videos taken by drones. Mirzoeff takes us on a journey through visual revolutions in the arts and sciences, from new mapping techniques in the seventeenth century to new painting styles in the eighteenth and the creation of film, photography, and x-rays in the nineteenth century. In today's networked world, mobile technology and social media enable us to exercise "visual activism" -- the practice of producing and circulating images to drive political and social change. Whether we are looking at pictures showing the effects of climate change on natural and urban landscapes or an fMRI scan demonstrating neurological addiction, Mirzoeff helps us to find meaning in what we see. A powerful and accessible introduction to this new visual culture, How to See the World reveals how images shape our lives, how we can harness their power for good, and why they matter to us all.

    Now she has expanded it into a memoir of her journey through the last century as confidant, collaborator, and muse to some of its most inspired minds and personalities: a diverse assemblage that ranges from the fathers of dada and surrealism to Virgil Thompson, George Balanchine, Alberto Giacometti, Dylan Thomas, Truman Capote, Joan Miró, James Merrill, and many more. At its center is the relationship, tenderly rendered, between Tanning and her famed husband, the enigmatic surrealist Max Ernst.Whether recalling the poignant presence of her friend Joseph Cornell or simply marveling at the facades along a Venice canal, "their filmy reflections fluttering in the dirty canal like fragile altar cloths hung out to dry," Tanning's writing is beguiling, wry, and shot through with the same eye for pregnant detail and immanent magic that marks her art.

    The result is a profound visual/verbal dialogue of short prose pieces and large-format color images that brings to life this sometimes brutal and incredibly beautiful part of the country. Awarded the Dorothea Lange–Paul Taylor Prize by the Center for Documentary Studies at Duke University for this project in 2005, the authors write: “Our interest in this part of the world is contemporary but also includes its history and a mix of stories that have passed down over the years, stories that resonate with the land in interesting ways.”It is an evocative work concerned with “moments that describe the beauty, power, tragedy, and cultural complexity of the place itself: the way the land has been used, the way people have lived on it, and the visual record that has been left behind.”

    Covering a wide array of artistic mediums, this fascinating collection also contains infographics about artistic movements throughout history, statistics about women's representation in museums, and notable works by women. Women in Art celebrates the success of the bold female creators who inspired the world and paved the way for the next generation of artists.

    From extraordinary highs - patronage by the Medicis, friendship with Galileo and, most importantly of all, beautiful and outstandingly original paintings - to rape by her father's colleague, torture by the Inquisition, life-long struggles for acceptance by the artistic Establishment, and betrayal by the men she loved, Artemisia was a bold and brilliant woman who lived as she wanted, and paid a high price.

    In 1985, he photographed an Afghan girl for the National Geographic. The intensity of the subject's eyes and her compelling gaze made this one of the most widely and consistently celebrated portraits in the history of contemporary photography.This accompanies the other remarkable faces he has encountered whilst travelling throughout the world, collected together in an engaging and strangely moving series of unique street portraits: unposed, unstylized images of people that reveal the true universality of the depths of human emotion.Critically acclaimed and recognized internationally for his classic reportage, over the last twenty years he has worked on numerous assignments, travelling extensively throughout the Middle and Far East.McCurry has won first prize in the World Press Awards, and was named Magazine Photographer of the Year in 1984. He is most famous for his evocative color photography, which has captured stories of human experience that, in the finest documentary tradition, transcend boundaries of language and culture.

    It features unpublished photographs from Shore's influential work that has been widely exhibited in the US but never captured in a book for the general public.

    In this sweeping account, renowned historian Linda Gordon charts Lange’s journey from polio-ridden child to wife and mother, to San Francisco portrait photographer, to chronicler of the Great Depression and World War II. Gordon uses Lange’s life to anchor a moving social history of twentieth-century America, re-creating the bohemian world of San Francisco, the Dust Bowl, and the Japanese American internment camps. She explores Lange’s growing radicalization as she embraced the democratic power of the camera, and she examines Lange’s entire body of work, reproducing more than one hundred images, many of them previously unseen and some of them formerly suppressed. Lange reminds us that beauty can be found in unlikely places, and that to respond to injustice, we must first simply learn how to see it.

    The sense of private mystery that fills these photographs--mostly taken during Koudelka's many years of wandering through Europe and Great Britain since leaving his native Czechoslovakia in 1968--speaks of passion and reserve, of his rage to see. Solitary, moving, deeply felt and strangely disturbing, the images in Exiles suggest alienation, disconnection and love. Exiles evokes some of the most compelling and troubling themes of the twentieth century, while resonating with equal force in this current moment of profound migrations and transience.Josef Koudelka (born 1938) has published ten books of photographs, many of which focus on the relationship between man and the landscape, including Gypsies (1975; revised and enlarged edition in 2011), Exiles (1988), Black Triangle (1994), Invasion 68: Prague (2008) and Wall (2013). Significant exhibitions of his work have been held at The Museum of Modern Art and the International Center of Photography, both in New York; Hayward Gallery, London; and Palais de Tokyo, Paris. Koudelka is the recipient of the Medal of Merit awarded by the Czech Republic (2002) and numerous other awards. In 2012, he was named Commandeur de l'Ordre des Arts et des Lettres by the French Ministry of Culture. He is based in Paris and Prague.

    He creates these majestic sepia and blue-tone photoscontrasting moments of quintessential stillness with bursts of dramatic actionby engaging with these creatures on an exceptionally intimate level, without the customary use of a telephoto lens. Evocative of classical art, from dignified portraits to sweeping natural tableaux, Brandt's images artfully and simply capture animals in their natural states of being. With a foreword by Alice Sebold and an introduction by Jane Goodall, On This Earth is a gorgeous portfolio of some of the last wild animalsand a heartfelt elegy to a vanishing world.