Italy's largest and greatest trade union, the CGIL, was formed in 1906, epitomizing what the fledgling nation's culture and credos were to represent in the twentieth century. At the time, the CGIL was able to encapsulate a traditional working class, the inevitable bourgeoisie, capitalists, and, later, fervent communists. Now, almost 100 years later, Italy has changed fundamentally. The demographic differences so starkly apparent at the time of the CGIL's formation have simply faded away, like a vibrant watercolor exposed to the sun. They have been replaced by a colorless chain-store homogeneity, a vagueness of purpose, a flatulent middle class without values or value. Made in Italy CGIL 100 investigates these shifts via pictures from four young photographers, Emiliano Mancuso, Mario Spada, Massimo Berruti, and Giancarlo Ceraudo. It asks the inevitable questions: How can this have happened? Is anybody paying attention?

"The first time I saw Sharmila practicing yoga, I was amazed. Her ability to control her body with awe-inspiring precision was mysterious. Her quiet and powerful concentration makes her slowly evolving, rock solid shapes appear like sculpture. By uniting the rich heritage of dance, martial arts and yoga in an unforeseen way, Sharmila is guiding performance into new territory."--Karole Armitage.

The book features a detailed analysis and interpretation of "The Saragossa Manuscript" (1964) by Wojciech Jerzy Has. The interpretative key is the director's reference to the aesthetics of various art trends, starting with baroque, through romanticism, symbolism, surrealism and the culture of Orient. The artistic references named here which to a high degree can be brought down to quotations and hints (the composition of stop-frames referring to the style of a given painter or an art trend) are to a large extent the consequence of having been adapted by a particular novel (Jan Potocki). Notwithstanding, also this time Has stigmatised the project with his own style by referring to the aesthetics of surrealism which was alien to the literary prototype.

John Berger's writings on photography are some of the most original of the 20th century. This selection contains many groundbreaking essays and previously uncollected pieces written for exhibitions and catalogues in which Berger probes the work of photographers such as Henri Cartier-Bresson and W. Eugene Smith - and the lives of those photographed.

This collection explores women's multifaceted historical and contemporary involvement in photography in Africa. The book offers new ways of thinking about the history of photography, exploring through case studies the complex and historically specific articulations of gender and photography on the continent, and attending to the challenge and potential of contemporary feminist and postcolonial engagements with the medium. The volume is organised in thematic sections that present the lives and work of historically significant yet overlooked women photographers, as well as the work of acclaimed contemporary African women photographers such as Hela Ammar, Fatoumata Diabate, Lebohang Kganye and Zanele Muholi. The book offers critical reflections on the politics of gendered knowledge production and the production of racialised and gendered identities and alternative and subaltern subjectivities. Several chapters illuminate how contemporary African women photographers, collectors and curators are engaging with colonial photographic archives to contest stereotypical forms of representation and produce powerful counter-histories. Raising critical questions about race, gender and the history of photography, the collection provides a model for interdisciplinary feminist approaches for scholars and students of art history, visual studies and African history.

In Digital Image Systems, Claus Gunti examines the antagonizing reactions to digital technologies in photography. While Thomas Ruff, Andreas Gursky and Joerg Sasse have gradually adopted digital imaging tools in the early 1990s, other photographers from the Dusseldorf School have remained faithful to film-based technologies. By evaluating the aesthetic and discursive preconditions of this situation and by extensively analyzing the digital work of these three photographers, this book shows that the digital turn in photography was anticipated by the conceptualization of images within systems, and thus offers new perspectives for understanding the "digital revolution".

In this book, Osborne demonstrates why and how photography as photography has survived and flourished since the rise of digital processes, when many anticipated its dissolution into a generalised system of audio-visual representations or its collapse under the relentless overload of digital imagery. He examines how photography embodies, contributes to, and even in effect critiques how the contemporary social world is now imagined, how it is made present and how the concept and the experience of the Present itself is produced. Osborne bases his discussions primarily in cultural studies and visual cultural studies. Through an analysis of different kinds of photographic work in distinct contexts, he demonstrates how aspects of photography that once appeared to make it vulnerable to redundancy turn out to be the basis of its survival and have been utilised by much important photographic work of the last three decades.

"The blue and white print has the night-time glow of a Joseph Cornell ice-cube box or a Stan Brakhage film, the poppy glows candescent but is gone. Anna Atkins' dirty fingernails are pressing the damp skin of the poppy into cotton wadding and blotting paper until the life has dried out of it..." Amateur botanist Anna Atkins is now widely considered to be the first woman ever to have taken a photograph. The introduction to one of her albums states that she uses the photographic medium in order to "depict with the most accuracy possible," and so assist other scientists. Yet visual artist Annabel Dover's investigations led her to believe that Atkins doctored and adulterated certain specimens, collaging different sections of different plants together. In the subversive, scrapbook narrative that follows both historic and imaginary characters' stories are woven together: Henry James 'drowns' the clothes of a friend post-suicide; Joe Orton's cleaning lady considers the collaged wall in his bedsit; and Anna Atkins makes the seaweed prints that will then appear in the first photographic book to be published. A complex mixture of scientific observation and tender, girlish enthusiasm Florilegia is above all else a profound meditation on memory, loss, and our relationship to images.

This book examines representations of home in literary and visual cultures in the 20th and 21st centuries. The collection brings together scholars working on literature, film, and photography with the aim of showcasing new research in a burgeoning field focusing on representations of domesticity. The chapters span a diverse range of contexts from across the world and use a variety of approaches to exploring representations of home including studies of space, material culture, sexuality, gender, multiculturalism, diaspora, memory and archival practice. They include explorations of the Finnish Suburban home on film, home and the diasporic imagination in Chinese Canadian women's writing and the archiving practices and photographs used to document the homes of two gay writers from Australia and New Zealand. By bringing together this range of approaches and subjects, the book explores domestic imaginaries as part of a multi-faceted, mutable and amorphous conception of home in a modern, world context. This collection therefore seeks to further studies of home by investigating how the page, screen and photograph have constructed domestic imaginaries - experiencing, critiquing, reconfiguring and archiving home - in a global age.

Surfing the Cosmos is an original book of photographs and text that visually explores the high/low of energy in the slums of Rio de Janeiro as compared with the high-tech physics of CERN, where discovering the origins of the universe and the elementary particles from which it is made are examined. Within this visual story are the unplanned beautiful drawings that humans make in space with electrical wires, whether from the favela or CERN. These "drawings" inspired a series of artworks/photographs that are pictured in this book, often along with their photographic source or the spirit of the community from which they are derived (either favela or CERN). The human energy of the favela is also mirrored in CERN with one specific comparison of the graffiti from Rio and the chalkboards of CERN, both viewed as works of art and sources that motivated the author's response as demonstrated in his previous works through examples including paintings, fashion scarves, handmade rugs from Nepal, bamboo cotton face masks along with surfboards (chalkboards) and skatedecks.

Manfred von Richthofen, the iconic Red Baron, has remained at the forefront of First World War studies ever since he became recognised as one of the most illustrious fighter pilot aces of the conflict. As we approach the centenary anniversary of his death and the ending of the Great War, it seems like a good time to introduce a new arrangement of photographs covering the entire span of his war. Since the release of his earlier books exploring similar themes, a constant trickle of new information has filtered down to the author. Although none of it specifically challenges the conclusions drawn in earlier publications, in consolidating them here hes been able to preserve some significant notes of interest. Following a number of visits to Belgium and Northern France in recent years, Franks has managed to acquire fascinating images illustrating the places in which the Red Baron lived and fought between 1916 and 1918. This collection represents the entire span of von Richthofens recorded history in pictures, some new and lesser-known, some iconic and widely circulated; all housed here together under one roof for the very first time.

A stunning book from Amanda Owen - shepherdess, wife, mother of nine children, bestselling author and star of C5's Our Yorkshire Farm - that brings her world to life in glorious colour. In Celebrating the Seasons, Amanda shares funny and charming stories about life with her family and their many four-legged charges and describes their activities at Ravenseat, from lambing and shearing to haymaking and feeding the flock in midwinter. Her gorgeous photographs showcase the famous Swaledale landscape she writes about, from the sweeping moors to rare wildflowers and the elusive hares glimpsed in the field. She lives in tune with nature and Amanda's attitude to food is the same. She believes in buying good, seasonal ingredients when it comes to feeding her family and includes her favourite recipes here, from wild garlic lamb with hasselback roast potatoes to rhubarb and custard crumble cake and Yorkshire curd tart. As inspirational as Amanda herself, this book is a beautiful keepsake that will delight everyone who has followed her adventures so far.

The first part of this essential handbook provides an art-business analysis of the market for art photography and explains how to navigate it; the second is an art-historical account of the evolution of art photography from a marginal to a core component of the international fine-art scene. In tracing the emergence of a robust art-world sub-system for art photography, sustaining both significant art-world presence and strong trade, the book shows the solid foundations on which today's international market is built, examines how that market is evolving, and points to future developments. This pioneering handbook is a must-read for scholars, students, curators, dealers, photographers, private collectors and institutional buyers, and other arts professionals.

This book explores how photography and documentary film have participated in the representation of the 1994 genocide in Rwanda and its aftermath. This in-depth analysis of professional and amateur photography and the work of Rwandan and international filmmakers offers an insight into not only the unique ability of images to engage with death, memory and the need for evidence, but also their helplessness and inadequacy when confronted with the enormity of the event. Focusing on a range of films and photographs, the book tests notions of truth, evidence, record and witnessing - so often associated with documentary practice - in the specific context of Rwanda and the wider representational framework of African conflict and suffering. Death, Image, Memory is an inquiry into the multiple memorial and evidentiary functions of images that transcends the usual investigations into whether photography and documentary film can reliably attest to the occurrence and truth of an event.