Drawing on newly examined archival sources, it provides a fascinating in-depth examination of the making of the photographs and the book's construction, using vintage contact sheets, work prints and letters that literally chart Frank's journey around the country on a Guggenheim grant in 1955-56. Curator and editor Sarah Greenough and her colleagues also explore the roots of The Americans in Frank's earlier books, which are abundantly illustrated here, and in books by photographers Walker Evans, Bill Brandt and others. The 83 original photographs from The Americans are presented in sequence in as near vintage prints as possible. The catalogue concludes with an examination of Frank's later reinterpretations and deconstructions of The Americans, bringing full circle the history of this resounding entry in the annals of photography. This volume is a reprint of the 2009 edition.

    Most of his pictures, all of which are reproduced in this text, show women about their daily business. Vermeer records the tasks and duties of women, the imperatives of virtue under which their lives were lived, and the dreams that provided the substance of their contrasting counter-world.

    A never-before-possible glimpse into the process of one of our most important poets.The book presents all the envelope writings — 52 — reproduced life-size in full color both front and back, with an accompanying transcription to aid in the reading, allowing us to enjoy this little-known but important body of Dickinson’s writing. Envisioned by the artist Jen Bervin and made possible by the extensive research of the Dickinson scholar Marta L. Werner, this book offers a new understanding and appreciation of the genius of Emily Dickinson.

    Packed with wonderfully entertaining and often outrageous speculations about the nature of art, truth, and value, the world-renowned art forger--who died mysteriously before this book was published--details secrets of his techniques.

    Creatively obsessed with problems of race, identity, power, politics, and family dynamics, he wrote novels, stories, and lectures that continue to shape our understanding of the region's promises and problems. His experiments and inventions in form and style have influenced generations of writers.Originally published in 1974 as a two-volume edition and extensively updated and condensed in a 1991 reissue, Joseph Blotner's Faulkner: A Biography remains the quintessential resource on the Nobel laureate's life and work. The Chicago Tribune said, "This is an overwhelming book, indispensable for anyone interested in the life and works of our greatest contemporary novelist." That invaluable 1991 edition is now back in print.Blotner, a friend and one-time colleague of Faulkner's, brings a vivid, personalized tone to the biography, as well as a sense of masterful, comprehensive scholarship. Using letters, inter-views, reminiscences, critical work, and other primary sources, Blotner creates a detailed and nuanced portrait of Faulkner from his birth to his death. The revision of the original 1974 biography incorporates commentary on the plethora of Faulkner criticism, family memoirs, and posthumously published works that appeared in the wake of the first version. It also examines collections of letters and other materials that only came to light after the original publication.Featuring a detailed chronology of Faulkner's life and a genealogical chart of his family, Faulkner is authoritative and essential both for literary scholars and for anyone wanting to know about the life of one of the nation's foremost authors. Blotner's masterpiece is the template for all biographical work on the acclaimed writer.Joseph Blotner, Charlottesville, Virginia, is professor emeritus of English at University of Michigan and the author of several books, including Robert Penn Warren: A Biography, The Modern American Political Novel, and The Fiction of J. D. Salinger. His work has appeared in the New York Times Book Review, Yale Review, American Literature, and else-where.

    His life mirrored his country's, as he grew from a Mississippi River boyhood in the days of the frontier, to a Wild-West journalist during the Gold Rush, to become the king of the eastern establishment and a global celebrity as America became an international power. Along the way, Mark Twain keenly observed the characters and voices that filled the growing country, and left us our first authentically American literature. Ron Powers's magnificent biography offers the definitive life of the founding father of our culture.

    There is no question that Robert Frank's The Americans is the most famous and influential photography book ever published. It was 1959 when the book first came out: a series of deceptively simple photographs that Frank took on a trip through America in '55 and '56, pictures of normal people, everyday scenes: lunch counters, bus depots, cars, and the stangely familiar faces of people we don't quite know but have seen somewhere. They are pictures that saw the "American way of life" as we hadn't yet quite been able to see it ourselves, photographs that condensed the entire life of a nation in classic images that still speak to us today, forty years and several generations later.

    Even today remembered primarily as the mentor and lover of Robert Mapplethorpe, the once infamous photographer, Wagstaff, in fact, had an incalculable—and largely overlooked—influence on the world of contemporary art and photography, and on the evolution of gay identity in the latter part of the twentieth century.  Born in New York City in 1921 into a notable family, Wagstaff followed an arc that was typical of a young man of his class. He attended both Hotchkiss and Yale, served in the navy, and would follow in step with his Ivy League classmates to the "gentleman's profession," as an ad executive on Madison Avenue. With his unmistakably good looks, he projected an aura of glamour and was cited by newspapers as one of the most eligible bachelors of the late 1940s. Such accounts proved deceiving, for Wagstaff was forced to live in the closet, his homosexuality only revealed to a small circle of friends. Increasingly uncomfortable with his career and this double life, he abandoned advertising, turned to the formal study of art history, and embarked on a radical personal transformation that was in perfect harmony with the tumultuous social, cultural, and sexual upheavals of the 1960s.Accordingly, Wagstaff became a curator, in 1961, at Hartford's Wadsworth Atheneum, where he mounted both "Black, White, and Gray"—the first museum show of minimal art—and the sculptor Tony Smith's first museum show, while lending his early support to artists Andy Warhol, Ray Johnson, and Richard Tuttle, among many others. Later, as a curator at the Detroit Institute of Arts, he brought the avant-garde to a regional museum, offending its more staid trustees in the process.After returning to New York City in 1972, the fifty-year-old Wagstaff met the twenty-five-year-old Queens-born Robert Mapplethorpe, then living with Patti Smith. What at first appeared to be a sexual dalliance became their now historic lifelong romance, in which Mapplethorpe would foster Wagstaff's own burgeoning interest in contemporary photography and Wagstaff would help secure Mapplethorpe's reputation in the art world. In spite of their profound class differences, the artistic union between the philanthropically inclined Wagstaff and the prodigiously talented Mapplethorpe would rival that of Stieglitz and O’Keefe, or Rivera and Kahlo, in their ability to help reshape contemporary art history.Positioning Wagstaff's personal life against the rise of photography as a major art form and the simultaneous formation of the gay rights movement, Philip Gefter's absorbing biography provides a searing portrait of New York just before and during the age of AIDS. The result is a definitive and memorable portrait of a man and an era.

    Along the way Young riffs on Basquiat's paintings and sayings, on the music he loved, on the artists he ran with (Andy Warhol and Keith Haring, among them), and on the black heroes (Charlie Parker, Muhammad Ali, Billie Holiday) who inspired him.Young's poetic channeling of Basquiat--a jostling, poignant brand of downtownspeak--makes for an urban epic in the tradition of Langston Hughes's "A Dream Deferred." To Repel Ghosts, along with Young's Jelly Roll: A Blues and Black Maria, his recent book of film noir verse, forms an American trilogy--Devil's Music--that explores other art forms through poetry. In its creation, Yound has become a poet whose work speaks both for and beyond his genre, with a music all its own.

    "New Art City "takes us from the solitude of the artist's studio to the uproarious bars where artists gathered, from the ramshackle bohemian neighborhoods of downtown Manhattan to the Midtown streets where steel-and-glass skyscrapers were rising and art galleries were proliferating. We encounter a kaleidoscopic range of artists. There are legendary figures-Jackson Pollock, David Smith, Willem de Kooning, Joseph Cornell, Andy Warhol, and Donald Judd-as well as still undervalued ones, such as the galvanic teacher Hans Hofmann, the lyric expressionist Joan Mitchell, the adventuresome realist Fairfield Porter, and the eccentric thinker John Graham. We encounter, too, the writers, critics, patrons, and hangers-on who rounded out the artists' world. Jed Perl helps us see what the artists were creating and understand how they confronted an exploding art audience. And he makes clear how the economic boom of the late 1950s and the increasingly enthusiastic response to Abstract Expressionism ushered in the rapacious art world of the 1960s and the theatricality of Pop Art. Artists drew strength from the dizzying onslaught of Manhattan, and produced a tidal wave of new forms. These included Hofmann's brazen flourishes of color; Pollock's quicksilver skeins of paint unfurling panoramic arabesques; and the crushed, jagged, turning-back-on-itself calligraphy of de Kooning's gnomic alphabets. And there was much more: Burgoyne Diller's levitating rectangles; Nell Blaine's explosive renderings of quotidian scenes; Ellsworth Kelly's extraordinary simplifications, suggesting sails or semaphores. A brilliant tapestry of social history, biographical portraiture, and criticism, "New Art City" illuminates a revolutionary, unprecedented time and place in American culture.

    McGinnis began his career in 1947 as a cartoonist, and produced his first cover illustrations for 1956 issues of the magazines True Detective and Master Detective. Then in 1958, he painted his first paperback book cover, and from that day forward his work was in demand.   The emergence of the “McGinnis Woman”—long-legged, intelligent, alluring, and enigmatic—established him as the go-to artist for detective novels. His work appeared on Mike Shayne titles and the Perry Mason series, and he produced 100 paintings for the Carter Brown adventures. Yet McGinnis became famous for his work in other genres as well: espionage, romance, historicals, gothics, and Westerns.   McGinnis’s first major magazine assignments were for The Saturday Evening Post, and his work has graced the pages of Cosmopolitan, National Geographic, Good Housekeeping, Guideposts, and others. McGinnis women frequently cropped up in the men’s magazines of the ’60s and ’70s.   His first movie poster was for Breakfast at Tiffany’s, with an iconic rendering of Audrey Hepburn. Almost instantly, his poster artwork could be seen everywhere—in theaters, on billboards, in newspapers, and even on soundtrack albums. His work for Hollywood became a who’s-who, with posters for James Bond, The Odd Couple, Woody Allen, The Private Life of Sherlock Holmes, and many more.   Some of his most ambitious works have been his gallery paintings, often depicting stunning American landscapes, vast Western vistas, and of course, beautiful women. The Art of Robert E. McGinnis collection reveals the full scope and beauty of the work of a true American master—one whose legacy continues today.

    Expressive close-ups of presidents reveal moments of joy, reflection, and turmoil over public issues and private challenges. Unexpected angles cast new light on historic events. Through both iconic and little-known images, this book offers a fresh perspective on life and work behind the famous facade of the White House.The President's Photographer is the official companion book to the National Geographic Channel special that aired in November 2010.

    The creator of expansive tableaus of fantastic and hellish scenes—where any devil not dancing is too busy eating human souls—he has been as equally misunderstood by history as his paintings have. In this book, Nils Büttner draws on a wealth of historical documents—not to mention Bosch’s paintings—to offer a fresh and insightful look at one of history’s most peculiar artists on the five-hundredth anniversary of his death.             Bosch’s paintings have elicited a number a responses over the centuries. Some have tried to explain them as alchemical symbolism, others as coded messages of a secret cult, and still others have tried to psychoanalyze them. Some have placed Bosch among the Adamites, others among the Cathars, and others among the Brethren of the Free Spirit, seeing in his paintings an occult life of free love, strange rituals, mysterious drugs, and witchcraft. As Büttner shows, Bosch was—if anything—a hardworking painter, commissioned by aristocrats and courtesans, as all painters of his time were. Analyzing his life and paintings against the backdrop of contemporary Dutch culture and society, Büttner offers one of the clearest biographical sketches to date alongside beautiful reproductions of some of Bosch’s most important work. The result is a smart but accessible introduction to a unique artist whose work transcends genre.

    Still, though I followed their season closely, I never fully understood their impact."—Allen Barra, The New York SunIn 1947, major league baseball experienced its first measure of integration when the Brooklyn Dodgers brought Jackie Robinson to the National League. While Robinson's breakthrough opened the gates of opportunity for African Americans and other minority players, the process of integration proved slow and uneven. It was not until the 1960s that a handful of major league teams began to boast more than a few Black and Latino players. But the 1971 World Championship team enjoyed a full and complete level of integration, with half of its twenty-five-man roster comprised of players of African American and Latino descent. That team was the Pittsburgh Pirates, managed by an old-time Irishman.In The Team That Changed Baseball: Roberto Clemente and the 1971 Pittsburgh Pirates, veteran baseball writer Bruce Markusen tells the story of one of the most likable and significant teams in the history of professional sports. In addition to the fact that they fielded the first all-minority lineup in major league history, the 1971 Pirates are noteworthy for the team's inspiring individual performances, including those of future Hall of Famers Roberto Clemente, Willie Stargell, and Bill Mazeroski, and their remarkable World Series victory over the heavily favored Baltimore Orioles. But perhaps their greatest legacy is the team's influence on the future of baseball, inspiring later championship teams such as the New York Yankees and Oakland Athletics to open their doors fully to all talented players, regardless of race, particularly in the new era of free agency.

    But the reality of punk stretches over three decades and numerous countries, with a history as rich and varied as it is shocking and daring. With this lavishly illustrated and authoritative A-Z guide, Brian Cogan leads readers through the fiery history of a furious, rebellious, contradictory, and boundary-redefining musical genre and cultural movement that remains as massively influential as it is wildly misunderstood. As The Encyclopedia of Punk clearly proves, punk music and culture has produced a rich trove of material, above and beyond the hundreds of bands, from books and films to incendiary political movements.