Window-Shopping through the Iron Curtain presents a selection of more than 100 images of shop windows shot by David Hlynsky during four trips taken between 1986 and 1990 to Poland, Czechoslovakia, Hungary, Yugoslavia, Bulgaria, East Germany, and Moscow. Using a Hasselblad camera, Hlynsky captured the slow, routine moments of daily life on the streets and in the shop windows of crumbling Communist countries. The resulting images could be still-lifes representing the intersection of a Communist ideology and a consumerist, Capitalist tool the shop window with the consumer stuck in the middle. Devoid of overt branding or calculated seduction, the shop windows were typically adorned with traditional yet incongruous symbols of cheer: homey lace curtains, paper flowers, painted butterflies, and pictures of happy children. Some windows were humble in their simple offerings of loaves and tinned fishes; others were zanily artistic, as in the modular display of military shirts in a Moscow storefront; and some illustrated intense professional pride, such as a sign in a Prague beauty salon depicting a pedicurist smiling fiendishly over an imperfect sole. The photographs are accompanied by essays by art historian Martha Langford and cultural studies specialist Jody Berland, as well as Hlynsky s own account of his time as a flaneur in the shopping plazas of the collapsing Soviet empire a vast ad-hoc museum of a failing utopia that in 1989 began to close forever."

The first comprehensive study of the artist Robert Heinecken and his critical views on the culture of mass media This is the first book-length study dedicated to the artist Robert Heinecken, whose innovative photographic practices sought to interrogate how mass media imagery facilitated the construction of individual and collective identities. Appropriating, rephotographing, and layering pictures culled from newspapers, advertisements, pornography, and television, Heinecken recombined and transformed the ubiquitous images of mass culture to encourage viewers to critically reflect on their sense of self. From the 1960s through the late 1990s, Heinecken's controversial art continually challenged inherited ideas around consumerism, the facticity of reportage, and visual culture's relationship to gender and identity politics. Embodying the evolution of contemporary art toward increasingly hybrid and conceptual approaches, his oeuvre includes examples of painting, sculpture, photomontage, performance, installation, time-based media, and artist's books, all of which collectively exploit photography's reproducibility to subvert society's dominant ideologies and stereotypical modes of representation. Author Matthew Biro presents an exhaustive look at Heinecken's life and art, locating him within a lineage that encompasses the activities of the early twentieth-century avant-gardes and the postmodern strategies of the Pictures Generation artists. Assessing his career within the specific political and historical contexts from which he gleaned his material, and illustrated throughout with vibrant full-color reproductions of his art, this in-depth examination demonstrates Robert Heinecken's significance as a key figure of twentieth-century art and an incisive commentator on modern life in America.

The photographs in Nicholas Pollack's new book Meadow were made between 2015-2020 in and around Secaucus, New Jersey, U.S. Inspired by the landscape of the New Jersey Meadowlands, Meadow is a body of work about a small plot of land and the friendships and interactions between a group of truck drivers who forge a transcendent relationship with the place. Nicholas Pollack's Meadow is tied to place - specifically, a place that is neglected by society. Meadow tells the story of a group of truck drivers who made a piece of overlooked salt marsh their own. Operating in the tradition of documentary style photography, Pollack shows both the social and the physical landscapes of America in Meadow. This book is Nicholas Pollack's ode to a small portion of the sprawling New Jersey Meadowlands, to its people and its landscape, and to the humanity enveloped in a post-industrial landscape.

A celebration of the timeless act of reading - as seen through the lens of one of the world's most beloved photographers Young or old, rich or poor, engaged in the sacred or the secular, people everywhere read. This homage to the beauty and seductiveness of reading brings together a collection of photographs taken by Steve McCurry over his nearly four decades of travel and is introduced by award-winning writer, Paul Theroux. McCurry's mesmerizing images of the universal human act of reading are an acknowledgement of - and a tribute to - the overwhelming power of the written word.

The series Mi Sangre by Roj Rodriguez started as a photo documentation of a personal journey to retrace his Mexican heritage and has evolved into a fine art project aimed at highlighting Mexican culture on both sides of the US/Mexico border. It documents everyday aspects of Mexican life, the culture and popular iconography, both as they exist in Mexico and as reimagined by Mexican Americans in the US. With each of the subjects portrayed, Roj Rodriguez engaged in sometimes casual, sometimes insightful conversations. Mi Sangre includes proud and elegant charros, beautiful and skilled escaramuzas, joyful and coy children, wise and innocent elders, vibrant and talented mariachi musicians, loving and welcoming families, and even fine art re-interpretations of Loteria iconography.

Sune Jonsson (1930-2009) spent most of his life in the county of Vasterbotten in the north of Sweden, where he documented the agrarian lifestyles he saw disappearing in the wake of an increasingly urban and industrial society. Subject to the whims of harsh weather, unpredictable seasons and often infertile soil, these men and women lived in constant states of flux: homes were impermanent, self-built structures, crops were few, and animals fewer. Jonsson published his work in a series of 25 photo books, which began in 1959 with "Byn med det bla huset" ("The Village with the Blue House") and ended almost 50 years later with "And Time Becomes a Wondrous Thing" (2007). These volumes were not solely photographic works: complementing his black-and-white documentary-style pictures were Jonsson's written narratives, a poetic mix of fact and fiction gleaned from interviews with his subjects and combined with his own political and philosophical concerns. "Sune Jonsson: Life and Work" not only republishes some of the most powerful photographs Jonsson took over the course of his lengthy career, but also provides intimate insight into the artist's historical, literary and social interests. Explicatory text by Val Williams provides contextual analysis.

Instant Andy

Before there was Instagram, there was Warhol

Andy Warhol was a relentless chronicler of life and its encounters. Carrying a Polaroid camera from the late 1950s until his death in 1987, he amassed a huge collection of instant pictures of friends, lovers, patrons, the famous, the obscure, the scenic, the fashionable, and himself. Created in collaboration with the Andy Warhol Foundation, this book features hundreds of these instant photos.

Portraits of celebrities such as Mick Jagger, Alfred Hitchcock, Jack Nicholson, Yves Saint Laurent, Pele, Debbie Harry are included alongside images of Warhol's entourage and high life, landscapes, and still lifes from Cabbage Patch dolls to the iconic soup cans. Often raw and impromptu, the Polaroids document Warhol's era like Instagram captures our own, offering a unique record of the life, world, and vision behind the Pop Art maestro and modernist giant.

A Sum of One is a compilation of photographs from nine years of travel to six continents. While the photographs (landscapes, streets, people, and abstract) are a documentation, their existence is deeply personal and contemplative to the photographer. The courage to take the journey outward leads to a healing journey inward by the emotional connectivity and embraceable response received. The journey, chances for illumination and cultural tributes aim to create a positive stimulus of growth in the reader.

Brooklyn is one of the most dynamic and ethnically diverse places on the planet. In fact, it’s estimated that one in every eight US families had relatives come through Brooklyn when settling in the country. Alex Webb and Rebecca Norris Webb have been photographing this New York City borough for the past seven years, creating a profound and vibrant portrait. Alex Webb has traversed every corner of the borough, exploring its tremendous diversity. This parallels his work made in the past forty years, traveling to photograph different cultures around the world—all of which are represented in the place he now calls home. Contrasting with this approach, Rebecca Norris Webb photographed “the city within the city within the city,” the green heart of Brooklyn—the Botanic Garden, Green-Wood Cemetery, and Prospect Park, where Brooklynites of all walks of life cross paths as they find solace. Together, their photographs of Brooklyn tell a larger American story, one that touches on immigration, identity, and home.

Goldblatt began working on Some Afrikaners Photographed, first published in 1975, in 1963. He had sold his father s clothing store where he worked, and become a full-time photographer. The ruling Afrikaner National Party many of its leaders and members had supported the Nazis in the Second World War was firming its grip on the country in the face of black resistance. Yet Goldblatt was drawn not to the events of the time but to the quiet and commonplace where nothing happened and yet all was contained and immanent. Through these photos he explored his ambivalence towards the Afrikaners he knew from his father s store. Most, he guessed, were National Party voters, yet he experienced them as austere, upright, unaffected people of rare generosity of spirit and earthy humor. Their potency and contradictions moved and disturbed him; their influence pervaded his life.

The book includes an essay by South African writer Antjie Krog: Three kinds of Afrikaners look out at us from these photographs, she writes, of which the poor Afrikaner is the most haunting the simple one who, by the sweat of his brow, eats his bread in isolation.

Art critic Ivor Powell charts the outraged reaction of the Afrikaner media towards photos that showed rural Afrikaners at a time when the Afrikaner elite was trying to establish itself on the international stage, as well as his own reaction to the original book: It was all but incandescent with tension and revelation, with a sense of souls being held up to scrutiny, of skins being peeled away.

An old man sits for me. A black child comes and stands next to him, looking at me with curiosity. The man turns and says to the child, Yes, what are you doing here, you black rubbish? the insult meant and yet said with affection. How is this possible? I don t know. But the contradiction was eloquent of much that I found in the relationship between rural and working-class Afrikaners and their black workers: an often comfortable, affectionate, even physical intimacy seldom seen in the liberal circles in which I moved, and yet, simultaneously, a deep contempt and fear of black people. David Goldblatt

Femxphotographers.org's second publication Mind Over Matter focuses inward. Women's bodies are frequently sexualized while their minds are vilified and their voices silenced. This is true throughout history and in different cultures worldwide. A book about female vision, the power of the mind, as well as dreams and fantasies, logic and intuition, Mind Over Matter is an exploration of inner strength, courage, determination, willpower, and support in complex and individual series. Edited by Roula Seikalyi and with contributions by photographers from the team as well as many guest artists and writers, the publication has the character of an illustrated reader.

A landmark biography of a singular and important Australian photographer, Olive Cotton, by an award-winning writer - beautifully written and deeply moving. Winner of the 2020 Canberra Critics' Circle Award for Biography Winner of the University of Queensland Non Fiction Book Award, Queensland Literary Awards 2020 Winner of the Magarey Medal for Biography for 2020 Shortlisted 2022 Adelaide Festival Awards for Literature, Non Fiction Award Longlisted for the 2020 Mark & Evette Moran Nib Literary Award 2020 Olive Cotton was one of Australia's pioneering modernist photographers, whose significant talent was recognised as equal to her first husband, the famous photographer Max Dupain. Together, Olive and Max were an Australian version of Frida Kahlo and Diego Rivera or Ray and Charles Eames, and the photographic work they produced in the 1930s and early 1940s was bold, distinctive and quintessentially Australian. But in the mid-1940s Olive divorced Max, leaving Sydney to live with her second husband, Ross McInerney, and raise their two children in a tent on a farm near Cowra - later moving to a cottage that had no running water, electricity or telephone for many years. Famously quiet, yet stubbornly determined, Olive continued her photography despite these challenges and the lack of a dark room. But away from the public eye, her work was almost forgotten until a landmark exhibition in Sydney in 1985 shot her back to fame, followed by a major retrospective at the Art Gallery of New South Wales in 2000, ensuring her reputation as one of the country's greatest photographers. Intriguing, moving and powerful, this is Olive's story, but it is also a compelling story of women and creativity - and about what it means for an artist to try to balance the competing demands of their art, work, marriage, children and family. 'Absorbing ... illuminating and moving' Inside Story

Celebrated photographer Robert Mapplethorpe challenged the limits of censorship and conformity, com- bining technical and formal mastery with unexpected, often provocative content that secured his place in history. Mapplethorpe's artistic vision helped shape the social and cultural fabric of the 1970s and 80s and, following his death in 1989 from AIDS, informed the political landscape of the 1990s. His photographic works continue to resonate with audiences all over the world. Throughout his career, Mapplethorpe preserved studio files and art from every period and vein of his production, including student work, jewelry, sculptures, and commercial assignments. The resulting archive is fascinating and astonishing. With over four hundred illustrations, this volume surveys a virtually unknown resource that sheds new light on the artist's motivations, connections, business acumen, and tal- ent as a curator and collector.

An ode to the medium of black-and-white street photography and a record of the enormity of life's understated moments. Synchronicity showcases Fabrice Strippoli's unique eye for capturing the remarkable in life's most unremarkable moments. Strippoli's lens work and his expertly crafted darkroom techniques transform these moments-from the seemingly mundane to the downright ordinary-into evocatively nostalgic pieces that invite comparison to mid-century masters of street photography like Robert Frank, Walker Evans, and Garry Winogrand. Combined with words by Juno winner Ron Sexsmith and New York Times bestselling author Justin Kingsley, Synchronicity is an ode to the medium of black-and-white street photography and a record of the enormity of life's understated moments.

Largely isolated from the world for more than four decades, Myanmar has made a remarkable return to the global stage following a political transformation that represents a watershed moment in the country's history. Now, for the first time ever, the rich culture, stunning landscapes and diverse peoples of the country are presented in a unique visual time capsule. Here is the new Myanmar as seen over a single week by a team of thirty famous photographers from eleven different countries. Their mission? To capture the life and spirit of Myanmar from every angle in every corner of the country.

It has been almost a generation since Sebastiao Salgado first published Exodus but the story it tells, of fraught human movement around the globe, has changed little in 16 years. The push and pull factors may shift, the nexus of conflict relocates from Rwanda to Syria, but the people who leave their homes tell the same tale: deprivation, hardship, and glimmers of hope, plotted along a journey of great psychological, as well as physical, toil. Salgado spent six years with migrant peoples, visiting more than 35 countries to document displacement on the road, in camps, and in overcrowded city slums where new arrivals often end up. His project includes Latin Americans entering the United States, Jews leaving the former Soviet Union, Kosovars fleeing into Albania, the Hutu refugees of Rwanda, as well as the first "boat people" of Arabs and sub-Saharan Africans trying to reach Europe across the Mediterranean ea. His images feature those who know where they are going and those who are simply in flight, relieved to be alive and uninjured enough to run. The faces he meets present dignity and compassion in the most bitter of circumstances, but also the many ravaged marks of violence, hatred, and greed. With his particular eye for detail and motion, Salgado captures the heart-stopping moments of migratory movement, as much as the mass flux. There are laden trucks, crowded boats, and camps stretched out to a clouded horizon, and then there is the small, bandaged leg; the fingerprint on a page; the interview with a border guard; the bundle and baby clutched to a mother's breast. Insisting on the scale of the migrant phenomenon, Salgado also asserts, with characteristic humanism, the personal story within the overwhelming numbers. Against the indistinct faces of televised footage or the crowds caught beneath a newspaper headline, what we find here are portraits of individual identities, even in the abyss of a lost land, home, and, often, loved ones. At the same time, Salgado also declares the commonality of the migrant situation as a shared, global experience. He summons his viewers not simply as spectators of the refugee and exile suffering, but as actors in the social, political, economic, and environmental shifts which contribute to the migratory phenomenon. As the boats bobbing up on the Greek and Italian coastline bring migration home to Europe like no mass movement since the Second World War, Exodus cries out not only for our heightened awareness but also for responsibility and engagement. In face of the scarred bodies, the hundreds of bare feet on hot tarmac, our imperative is not to look on in compassion, but, in Salgado's own words, to temper our behaviors in a "new regimen of coexistence."

For award-winning science writer and photographer Margie Patlak, exploring the unique nature of the Maine coast opens a door to deeper ties and insights. This collection of photographs conveys the sublime sense of wonder she feels every time she visits the shore. Tides show how fleeting time is, and clouds and weather reveal greater forces that take away all illusions of control. These facets of the natural world speak a hidden language of light and color that Patlak translates with her lens.

Frederick Law Olmsted (1822 - 1903) is considered as the father of landscape architecture in the United States and created several renowned urban parks and park systems around the country. With a stunning black and white series of trees by Stanley Greenberg dating to the beginnings of these parks this volume offers an intimate encounter with Olmsted, his motifs and heritage. Central Park in New York, the Emerald Necklace in Boston, park systems in Chicago, Milwaukee, Buffalo, Rochester and Louisville - trees have been essential elements of all of Olmsted's park designs. New York-based photographer Stanley Greenberg pays tribute to them with his portrait series of these beautiful and dignified giants. Three essays by renowned experts on history, sociology and landscape architecture complement the narrative and present an interdisciplinary vision on Olmsted's achievement.

Ren Hang, who took his life February 23, 2017, was an unlikely rebel. Slight of build, shy by nature, prone to fits of depression, the 29-year-old Beijing photographer was nonetheless at the forefront Chinese artists' battle for creative freedom. Like his champion Ai Weiwei, Ren was controversial in his homeland and wildly popular in the rest of the world. He said, "I don't really view my work as taboo, because I don't think so much in cultural context, or political context. I don't intentionally push boundaries, I just do what I do." Why? Because his models, friends, and in his last years, fans, are naked, often outdoors, high in the trees or on the terrifyingly vertiginous rooftops of Beijing, stacked like building blocks, heads wrapped in octopi, body cavities sprouting phone cords and flowers, whatever entered his mind at the moment. He denied his intentions were sexual, and there is a clean detachment about even his most extreme images: the urine, the insertions, the many, many erections. In a 2013 interview VICE magazine asked, "there are a lot of dicks ... do you just like dicks?" Ren responded, "It's not just dicks I'm interested in, I like to portray every organ in a fresh, vivid and emotional way." True though that may be, the penises Ren photographed were not just fresh and vivid, but unusually large, making one wonder just where he met his friends. In the same piece, Hang also stated, "Gender isn't important when I'm taking pictures, it only matters to me when I'm having sex," making him a pioneer of gender inclusiveness. Young fans still eagerly flock to his website and Facebook, Instagram, and Flickr accounts. His photographs, all produced on film, have been the subject of over 20 solo and 70 group shows in his brief six-year career, in cities as disparate as Tokyo, Athens, Paris, New York, Copenhagen, Frankfurt, Vienna, and yes, even Beijing. He self-published 16 monographs, in tiny print runs, that now sell for up to $ 600. TASCHEN's Ren Hang is his only international collection, covering his entire career, with well-loved favorites and many never-before-seen photos of men, women, Beijing, and those many, many erections. We take solace remembering Ren's joy when he first held the book, shared by his long-time partner Jiaqi, featured on the cover.

French photographer Jean-Luc Mylayne (born 1946) scouts out specific birds in locations across Europe and the US, then frames a scene, waiting for the bird to enter his camera's view. This volume documents a three-part project with The Art Institute of Chicago, including a chapel built in Millennium Park.