In this novel of a couple, and of passion, betrayal, and art, Georgia comes alive as never before. By the writer whose work Edna O’Brien called "shimmering, audacious."Georgia O’Keeffe is a young woman, painting and teaching art in Texas, when she travels to New York to meet Alfred Stieglitz, the married gallery owner of 291, modern art promoter, and photographer. Their instantaneous attraction and powerful hunger for each other draw her into his world of art, sex, and passion, and she becomes his mistress and his muse. As their relationship develops, so does Georgia’s place in the art world, but she becomes trapped in her role as the subject of Stieglitz’s infamous nude photographs of her; the critics cannot envision her as her own being. As her own artistic fervor begins to push the boundaries of her life, we see Georgia transform into the powerfully independent woman she is known as today.

    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"

    17th century to the present. Book was reprinted in 2006

    With subjects that both reflect the zeitgeist and contribute to its creation, each exhibi­tion—from 2005’s Chanel, to 2011’s Alexander McQueen: Savage Beauty and 2013’s Punk—creates a provocative and engaging narrative attracting hundreds of thousands of visitors. The show’s opening-night gala, produced in collaboration with Vogue magazine and attended by the likes of Beyoncé, George Clooney, and Hillary Clinton, is regularly referred to as the Party of the Year.Covering the Costume Institute’s history and highlighting exhibitions of the 21st century curated by Harold Koda and Andrew Bolton, this book offers insider access of the first order. Anchored by photo­graphs from the exhibitions themselves in tandem with the Vogue fashion shoots they inspired, it also includes images of exhibited objects and party photos from the galas. Drawn from the extensive Vogue archives, the featured stories showcase the photographs of icons such as Annie Leibovitz, Mario Testino, Steven Meisel, and Craig McDean; the vision of legendary Vogue editors like Grace Coddington and Tonne Goodman; and the knowledge and wit of writers such as Hamish Bowles and Jonathan Van Meter.

    From the mid-nineteenth century to the early twentieth, over 250 institutions for the insane were built throughout the United States; by 1948, they housed more than a half million patients. The blueprint for these hospitals was set by Pennsylvania hospital superintendent Thomas Story Kirkbride: a central administration building flanked symmetrically by pavilions and surrounded by lavish grounds with pastoral vistas. Kirkbride and others believed that well-designed buildings and grounds, a peaceful environment, a regimen of fresh air, and places for work, exercise, and cultural activities would heal mental illness. But in the second half of the twentieth century, after the introduction of psychotropic drugs and policy shifts toward community-based care, patient populations declined dramatically, leaving many of these beautiful, massive buildings--and the patients who lived in them--neglected and abandoned. Architect and photographer Christopher Payne spent six years documenting the decay of state mental hospitals like these, visiting seventy institutions in thirty states. Through his lens we see splendid, palatial exteriors (some designed by such prominent architects as H. H. Richardson and Samuel Sloan) and crumbling interiors--chairs stacked against walls with peeling paint in a grand hallway; brightly colored toothbrushes still hanging on a rack; stacks of suitcases, never packed for the trip home. Accompanying Payne's striking and powerful photographs is an essay by Oliver Sacks (who described his own experience working at a state mental hospital in his book Awakenings). Sacks pays tribute to Payne's photographs and to the lives once lived in these places, "where one could be both mad and safe."

    But what about the elements that make up a picture? Using the tale of Little Red Riding Hood as an example, Molly Bang uses boldly graphic artwork to explain how images -- and their individual components -- work to tell a story that engages the emotions: Why are diagonals dramatic? Why are curves calming? Why does red feel hot and blue feel cold?

    As word began to spread, similar establishments popped up across the country. Men lined up outside these cafés waiting to pay three times the usual cost for coffee served by a panty-free young woman, hoping to catch a fortuitous glimpse. Within a few years, a new craze took hold: the no-panties "massage" parlor. Competition for customers led these new types of businesses to offer an increasingly bizarre range of services: fondling clients through holes in coffins whilst they lie naked inside playing dead, interiors catering to commuter-train fetishists, young virgin role-playing, etc. Amongst these many destinations was a Tokyo club called Lucky Hole. Here, the premise was ridiculously simple: clients stood on one side of a plywood partition, a hostess on the other; in between them was simply a hole big enough for a certain part of the male anatomy to pass through. Nobuyoshi Araki was a frequent visitor to the sex clubs of Tokyo's Shinjuku neighborhood, and he photographed them profusely until the golden age of Japan's sex industry came to a screeching halt in February 1985, with the enactment of the New Amusement Business Control and Improvement Act. In over 800 photos, Tokyo Lucky Hole documents the free-for-all spirit of those clubs via Araki's lens.

    Passionately argued, brilliantly written, and filled with Paglia’s trademark audacity, Glittering Images takes us on a tour through more than two dozen seminal images, some famous and some obscure or unknown—paintings, sculptures, architectural styles, performance pieces, and digital art that have defined and transformed our visual world. She combines close analysis with background information that situates each artist and image within its historical context—from the stone idols of the Cyclades to an elegant French rococo interior to Jackson Pollock’s abstract Green Silver to Renée Cox’s daring performance piece Chillin’ with Liberty. And in a stunning conclusion, she declares that the avant-garde tradition is dead and that digital pioneer George Lucas is the world’s greatest living artist. Written with energy, erudition, and wit, Glittering Images is destined to change the way we think about our high-tech visual environment.

    In it, she confronts a meticulous diary that she has kept for twenty-five years. “I wanted to end each day with a record of everything that had ever happened,” she explains. But this simple statement belies a terror that she might forget something, that she might miss something important. Maintaining that diary, now eight hundred thousand words, had become, until recently, a kind of spiritual practice.Then Manguso became pregnant and had a child, and these two Copernican events generated an amnesia that put her into a different relationship with the need to document herself amid ongoing time.Ongoingness is a spare, meditative work that stands in stark contrast to the volubility of the diary—it is a haunting account of mortality and impermanence, of how we struggle to find clarity in the chaos of time that rushes around and over and through us.“Bold, elegant, and honest . . . Ongoingness reads variously as an addict’s testimony, a confession, a celebration, an elegy.” —The Paris Review“Manguso captures the central challenge of memory, of attentiveness to life . . . A spectacularly and unsummarizably rewarding read.” —Maria Popova, Brain Pickings

    "Vincent is not dead. He will never die. His love, his genius, the great beauty he has created will go on forever, enriching the world... He was a colossus... a great painter... a great philosopher... a martyr to his love of art. "Walking down the streets of Paris the young Vincent Van Gogh didn't feel like he belonged. Battling poverty, repeated heartbreak and familial obligation, Van Gogh was a man plagued by his own creative urge but with no outlet to express it. Until the day he picked up a paintbrush.Written with raw insight and emotion, follow the artist through his tormented life, struggling against critical discouragement and mental turmoil and bare witness to his creative journey from a struggling artist to one of the world's most celebrated artists.

    In The Best Camera Is The One That's With You, Chase reimagines, examines, and redefines the intersection of art and popular culture through images shot with his iPhone. The pictures in the book, all taken with Chase's iPhone, make up a visual notebook-a photographic journal-from the past year of his life. The book is full of visually-rich iPhone photos and peppered with inspiring anecdotes. Two megapixels at a time, these images have been gathered and bound into a book that represents a stake in the ground. With it, Chase underscores the idea that an image can come from any camera, even a mobile phone. As Chase writes, Inherently, we all know that an image isn't measured by its resolution, dynamic range, or anything technical. It's measured by the simple-sometimes profound, other times absurd or humorous or whimsical-effect that it can have upon us. If you can see it, it can move you.This book is geared to inspire everyone, regardless of their level of photography knowledge, that you can capture moments and share them with our friends, families, loved ones, or the world at the press of a button. Readers of The Best Camera Is The One That's With You will also enjoy the iPhone application Chase Jarvis created in conjunction with this book, appropriately named Best Camera. Best Camera has a unique set of filters and effects that can be applied at the touch of a button. Stack them. Mix them. Remix them. Best Camera also allows you to share directly to a host of social marketing sites via www.thebestcamera.com, a new online community that allows you to contribution to a living, breathing gallery of the best iPhone photography from around the globe. Together, the book, app, and website, represent a first-of-its-kind ecosystem dedicated to encouraging creativity through picture taking with the camera that you already have. The Best Camera Is The One That's With You-shoot!

    It was a place where, from the confines of her bedroom in the suburbs, she could write about personal style and chronicle the development of her own. Within two years, the blog was averaging fifty thousand hits per day. Soon fashion designers were flying her around the world to attend and write about fashion shows, and to be a guest of honor at their parties.     Soon Tavi’s interests grew beyond fashion, into culture and art and, especially, feminism. In September 2011, when she was fifteen, she launched Rookie, a website for girls like her: teenagers who are interested in fashion and beauty but also in dissecting the culture around them through a uniquely teen-girl lens. Rookie broke one million page views within its first six days. Rookie Yearbook One collects articles, interviews, photo editorials, and illustrations from the highly praised and hugely popular online magazine.      In its first year, Rookie has established a large inclusive international community of avid readers. In addition to its fifty-plus regular writers, photographers, and illustrators (many of whom are teenage girls themselves), Rookie’s contributors and interviewees have included prominent makers of popular culture such as Lena Dunham, Miranda July, Joss Whedon, Jon Hamm, Zooey Deschanel, David Sedaris, Elle Fanning, Amy Poehler, Paul Rudd, John Waters, Chloe Sevigny, Liz Phair, Dan Savage, JD Samson, Ira Glass, Aubrey Plaza, Daniel Clowes, Carrie Brownstein, Paul Feig, Bethany Cosentino, Kimya Dawson, Fred Armisen, and Winnie Holzman.     As a young teenager, Gevinson couldn’t find what she was looking for in a teen magazine; Rookie is the one she created herself to fill that void. Her coolheaded intellect shines in Rookie, arguably the most intelligent magazine ever made for a teen-girl audience. Gevinson writes with a humble but keen authority on such serious topics as body image, self-esteem, and first encounters with street harassment. She’s equally deft at doling out useful advice, such as how to do a two-minute beehive, or how to deliver an effective bitchface. Rookie’s passionate staffers and faithful readers have helped make Rookie the strong community that it is.     To date, Gevinson has written for Harper’s Bazaar, Jezebel, Lula, and Pop, and is a contributing editor for Garage magazine. She has been profiled in The New York Times and The New Yorker, and has been on the cover of Pop, L’Officiel, Zeit Magazin, and Bust. As a speaker, she has made numerous presentations at venues such as IdeaCity, TEDxTeen, L2 Forum, and the Economist World in 2012 Festival. Last year Lady Gaga called her “the future of journalism.”

    Drawing on Vogue’s exceptional archive, this book focuses on the work of eight of the magazine’s legendary fashion editors (including Polly Mellen, Babs Simpson, and Grace Coddington) who collaborated with photographers, stylists, and designers to create the images that have had an indelible impact on the fashion world and beyond. Featuring the work of world-renowned photographers such as Richard Avedon, Irving Penn, and Annie Leibovitz and model/muses, including Marilyn Monroe, Verushka, and Linda Evangelista, The Editor’s Eye is a lavishly illustrated look at the visionary editors whose works continue to reverberate in the culture today.Praise for Vogue: The Editor's Eye:Selected in “Guide to coffee table books as holiday gifts.” —Associated Press“What makes a great fashion image? A new book, The Editor’s Eye, celebrates the work of Vogue’s boundary-pushing fashion editors.” —Vogue“Vogue: The Editor’s Eye is the perfect gift book for anyone with an interest in fashion or photography or brilliant book design. No electronic tablet yet created can duplicate the sheer visual pleasure of paging through this gorgeous book.” —Connecticut Post“Told via in-depth interviews with each of these visionaries, Vogue: The Editor’s Eye gives a glimpse into the process, proving that the magazine’s cutting-edge fashion spreads are as much about editorial point of view as they are about model-photographer-designer collaboration.” —BookPage.com“Vogue: The Editor’s Eye tells how the vision, creativity (and let’s not forget lavish budgets) possessed by eight fashion editors from 1947 to the present have produced the striking layouts that are the magazine's signature.” —The Denver Post

    Over the past decade, artist Rachel Sussman has researched, worked with biologists, and traveled the world to photograph continuously living organisms that are 2,000 years old and older. Spanning from Antarctica to Greenland, the Mojave Desert to the Australian Outback, the result is a stunning and unique visual collection of ancient organisms unlike anything that has been created in the arts or sciences before, insightfully and accessibly narrated by Sussman along the way. Her work is both timeless and timely, and spans disciplines, continents, and millennia. It is underscored by an innate environmentalism and driven by Sussman’s relentless curiosity. She begins at “year zero,” and looks back from there, photographing the past in the present.  These ancient individuals live on every continent and range from Greenlandic lichens that grow only one centimeter a century, to unique desert shrubs in Africa and South America, a predatory fungus in Oregon, Caribbean brain coral, to an 80,000-year-old colony of aspen in Utah. Sussman journeyed to Antarctica to photograph 5,500-year-old moss; Australia for stromatolites, primeval organisms tied to the oxygenation of the planet and the beginnings of life on Earth; and to Tasmania to capture a 43,600-year-old self-propagating shrub that’s the last individual of its kind. Her portraits reveal the living history of our planet—and what we stand to lose in the future. These ancient survivors have weathered millennia in some of the world’s most extreme environments, yet climate change and human encroachment have put many of them in danger. Two of her subjects have already met with untimely deaths by human hands. Alongside the photographs, Sussman relays fascinating – and sometimes harrowing – tales of her global adventures tracking down her subjects and shares insights from the scientists who research them. The oldest living things in the world are a record and celebration of the past, a call to action in the present, and a barometer of our future.