Her distinctive style is a unique combination of retro glamor, pin-up and high-art eroticism, and always perfect down to the smallest accessories. She only works with the best photographers - Baker, Czernich, James & James, Weathers - and, combined with her clear vision of how she wants to look, the result is always 100% stunning and 100% Dita. Dominant or submissive, damsel in distress or provocative French maid, this genuine fetishist has laced herself up and paraded around in the highest of high heels - a true fetish goddess.

    Now, for the first time, Olivia's work has been compiled into one deluxe book. Included are over 100 drawings and paintings, many previously unpublished, spanning the past fifteen years.

    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.

    This giant tome provides a timely look at the fascinating women who created and inhabit the SG community. With an introduction by SG founder, Missy Suicide and images of hundreds of SuicideGirls world-wide, this title shines a light on a new female aesthetic - a look reminiscent of vintage Betty Page and Bunny Yeager photos, but with a decisively 21st century edge. "There's no other place in the media to see girls (like these) who are tremendously smart and beautiful in their own way" says Missy, "Everywhere you look you just see the super-thin, super-tall, bleach blonde Baywatch babe. There are a lot of people out there who want to see a different kind of beauty."

    And rightly so. The marriage of LaChapelle’s vivid, high-octane images with graphic artist, Tadanori Yokoo’s supersaturated designs make for an astonishing physical object. The reissue of this now classic, long out-of-print volume showcases all the lollipop giddiness of the original now lavishly reproduced in a larger format. “There’s a tradition of celebrity portraiture that attempts to uncover the ‘real person’ behind the trappings of their celebrity. I am more interested in those trappings,” says LaChapelle. Indeed, he exaggerates the artificiality of fame and Hollywood culture in a head on collision of color, plastic, and whimsy. His photographs confront our visual taste and challenge our ideas of celebrity, all the while taking us on a roller coaster ride through his hyper-sensationalized galaxy. Lil’ Kim becomes the ultimate status symbol, tattooed in the Louis Vuitton pattern. Madonna rises from pink waters as a mystical dragon princess. Pamela Anderson hatches out of an egg; and Alexander McQueen burns down the castle dressed as the Queen of Hearts. David LaChapelle’s uncompromising originality is legendary in the worlds of fashion, film, and advertising. His images, both bizarre and gorgeous, have appeared on and in between the covers of Vogue, Vanity Fair, Rolling Stone, Vibe and more. La Chapelle Land is fun park America gone surrealistically wrong — but in such an attractive way.

    His 1976 exhibition, Photographs by William Eggleston, at the Museum of Modern Art in New York, marked a turning point in the history of photography: this was when color photography gained recognition as a medium of artistic expression. His intense and dramatic use of color and "democratic" approach to mundane subject matter continue to have an enormous impact on contemporary photographic practice. Published to accompany a French exhibition, this book brings together Eggleston's most significant works, from his first experiments in black-and-white to a series of photographs of Kyoto produced specifically for the exhibit. Drawing on public and private collections in Europe and the United States, the book includes vintage prints executed in the technique most characteristic of his work, the dye transfer process, as well as many lesser-known and previously unseen photographs. From Mississippi to Berlin, Kenya to Asia, Eggleston has tirelessly explored the wider world, transforming, through his camera, the ordinary into the extraordinary. Distributed on behalf of the Fondation Cartier pour l'art contemporain. 160 color photographs.

    Now available in paperback, this volume celebrates an artist whose acute perceptions and imagination embrace not only the photographs of children for which she is renowned, but also earlier landscapes and some unexpected, compelling forays into color and abstract photography. The 60 images include abstract platinum prints, Cibachromes and Polaroids, landscapes, portraits of women and 12-year-olds and her celebrated family pictures. Sally Mann was born in 1951 in Lexington, Virginia, where she continues to live and work. Among her many awards are three National Endowment for the Arts fellowships and a Guggenheim fellowship. Her photographs are in the permanent collections of the Metropolitan Museum of Art, The Museum of Modern Art, New York, the Whitney Museum of American Art, the Smithsonian American Art Museum and The Corcoran Museum of Art, to name just a few. Her books of photographs include Immediate Family and At Twelve: Portraits of Young Women.

    And as with his photographs of the Mississippi, these images are less about natural wonder than human desire. "I went to Niagara for the same reason as the honeymooners and suicide jumpers," says Soth, "the relentless thunder of the Falls just calls for big passion." The subject may be hot, but the pictures are quiet, the rigorously composed and richly detailed products of a large-format 8x10 camera. Working over the course of two years on both the American and Canadian sides of the Falls, Soth edited the results of his labors down to a tight and surprising album. He depicts newlyweds and naked lovers, motel parking lots, pawnshop wedding rings and love letters from the subjects he photographed. We read about teenage crushes, workplace affairs, heartbreak and suicide. Oscar Wilde wrote, "The sight of the stupendous waterfall must be one of the earliest, if not the keenest, disappointments in American married life." Niagara brings viewers both the passion and the disappointment--a remarkable portrayal of modern love and its aftermath.

    This beautifully produced catalogue, designed by the renowned Danish graphic designer Michael Jensen, features deluxe tritone printing and varnish on premium paper. It includes 125 reproductions of Avedon's greatest work from the entire range of his oeuvre--including fashion photographs, reportage and portraits--and spans from his early Italian subjects of the 1940s to his 2004 portrait of the Icelandic pop star Bjork. It also features a small number of color images, including what must be one of the most famous photographic portraits of the twentieth century, -Nastassja Kinski and the Serpent- (1981). Texts by Jeffrey Fraenkel, Judith Thurman, Geoff Dyer, Christoph Ribbat, Rune Gade and curator Helle Crenzien offer a sophisticated and thorough composite view of Avedon's career.

    Its goal is to inspire photographers of all levels who wish to improve their work, as well as readers interested in deepening their understanding of the art of photography. Each book features the creative process and core thinking of a photographer told in their own words and through pictures of their choosing, and is introduced by a well-known student of the featured photographer. In this book, Todd Hido explores the genres of landscape, interior and nude photography, with emphasis on creating images from a personal perspective and with a sense of intimacy. Through words and photographs, he also offers insight into his own practice and discusses a wide range of creative issues, including mining one's own memory and experience as inspiration; using light, texture and detail for greater impact; exploring the narrative potential activated when sequencing images; and creating powerful stories with emotional weight and beauty.Todd Hido (born 1968) is a San Francisco Bay Area-based artist. He is well known for his photography of urban and suburban housing across the United States, and for his use of detail and luminous color. His previous books include House Hunting (2001), Outskirts (2002), Roaming (2004) and Between the Two (2007). He is a recipient of a Eureka Fellowship and a Wallace Alexander Gerbode Foundation Visual Arts Award, and is represented by Stephen Wirtz Gallery in San Francisco. He is an adjunct professor at California College of the Arts.Gregory Halpern received a BA in history and literature from Harvard University and an MFA from California College of the Arts. His third book of photographs, entitled A, is a photographic ramble through the streets of the American Rust Belt. His other books include Omaha Sketchbook and Harvard Works Because We Do. He currently teaches at the Rochester Institute of Technology and is the coeditor of The Photographer's Playbook (Aperture 2013).

    Finally, photography and offset printing techniques have caught up with Sternfeld's eye, and this new edition of American Prospects succeeds in presenting Sternfeld's most seminal work as it has always meant to be shown. A specially-commissioned essay by Kerry Brougher, Chief Curator at the Hirshhorn Museum and Sculpture Garden, considers the historical context in which Sternfeld was working and the pivotal role that American Prospects has played in the course of contemporary filmmaking and art photography. In American Prospects, a fireman shops for a pumpkin while a house burns in the background; a group of motorcyclists stop at the side of the road to take in a stunning, placid view of Bear Lake, Utah; the high-tech world headquarters of the Manville Corporation sits in picturesque Colorado, obscured by a defiant boulder; a lone basketball net stands in the desert near Lake Powell in Arizona; and a cookie-cutter suburban housing settlement rests squarely amongst rolling hills in Pendleton, Oregon. Sternfeld's photographic tour of America is a search for the truth of a country not just as it exists in a particular era but as it is in its ever-evolving essence. It is a sad poem, but also a funny and generous one, recognizing endurance, poignant beauty, and determination within its sometimes tense, often ironic juxtapositions of man and nature, technology and ruin.

    This work reveals the growth of an artist who saw no artificial boundary between art and the paying job and who succeeded in putting her indelible stamp on the visual imagination.

    Internationally famous Czech photographer Jan Saudek is no exception, and equally as uncompromising in pursuit of his own unique vision. For over four decades Saudek has created a parallel photographic universe, a two-dimensional home full of longing, peopled with the most extraordinary characters and colored by desire. The timeless strength of his hand-tinted photographs lies in their poetic compositions and their forceful?at times ribald?pictorial language, with its overtones of medieval genre pictures and Baroque mythology. Rejecting the traditional beauty in his famous nude photographs, Saudek shows the distinctively different: old women, fat women, children; real people in tableaux vivants that remind us of everything from surreal early movies to fin-de-siecle carnival nights. They exist outside time, a uniquely colored and almost mythical theater of dreams. Covering his debut in the 1950s through his lesser-known work to recent images, this dazzling collection offers us the true "velvet revolution," fertile and unsettling images from the dreams we might still have. The author: Daniela Mr?zkov?, critic and editor of the Czech magazines Revue fotografie and Fotografie-Magaz?n, is the author of sixteen books on photography published in the Czech Republic and abroad, and the curator of around fifty photography exhibitions. She has been a member of international juries, and has authored film and television documentaries on photography and photographers. She hasfollowed Jan Saudek's work since his early years and is the author of Saudek's first Czech monograph, The Theatre of Life.

    Yet in 1979, the Amon Carter Museum of Fort Worth, Texas, daringly commissioned him to do just that.The resulting 1985 exhibition and book, In the American West, was a milestone in American photography and Avedon's most important body of work. His unflinching portraits of oilfield and slaughterhouse workers, miners, waitresses, drifters, mental patients, teenagers, and others captured the unknown and often-ignored people who work at hard, uncelebrated jobs. Making no apologies for shattering stereotypes of the West and Westerners, Avedon said, "I'm looking for a new definition of a photographic portrait. I'm looking for people who are surprising—heartbreaking—or beautiful in a terrifying way. Beauty that might scare you to death until you acknowledge it as part of yourself."Photographer Laura Wilson worked with Avedon during the six years he was making In the American West. In Avedon at Work, she presents a unique photographic record of his creation of this masterwork—the first time a major photographer has been documented in great depth over an extended period of time. She combines images she made during the photographic sessions with entries from her journal to show Avedon's working methods, his choice of subjects, his creative process, and even his experiments and failures. Also included are a number of Avedon's finished portraits, as well as his own comments and letters from some of the subjects.Avedon at Work adds a new dimension to our understanding of one of the twentieth century's most significant series of portraits. For everyone interested in the creative process it confirms that, in Laura Wilson's words, "much as all these photographs may appear to be moments that just occurred, they are finally, in varying degrees, works of the imagination."

    I want there to be a combination of the past juxtaposed with the modern. I use nature to symbolize the search, saving a tree, watering the earth. In this fabricated world, strange clouds of smog float by; there are holes in the sky. These mythic images mirror our world, where nature is domesticated, controlled, and destroyed. Through my work I explore technology and a poetry of existence. These can be very heavy, overly didactic issues to convey in art, so I choose to portray them through a more theatrically absurd approach.--Robert ParkeHarrison