Delegation is the first comprehensive monograph by Apsaalooke/Crow artist Wendy Red Star, whose photography recasts historical narratives with wit, candor, and a feminist, Indigenous perspective. Red Star centers Native American life and material culture through imaginative self-portraiture, vivid collages, archival interventions, and site-specific installations. Whether referencing nineteenth-century Crow leaders or 1980s pulp fiction, museum collections or family pictures, she constantly questions the role of the photographer in shaping Indigenous representation. Including a dynamic array of Red Star's lens-based works from 2006 to the present, and a range of essays, stories, and poems, Delegation is a spirited testament to an influential artist's singular vision. Copublished by Aperture and Documentary Arts

As a young journalist during the Red Scare of the early 1950s, Ted Polumbaum defied Congressional inquisitors and suffered the usual consequences-he was fired, blacklisted, and trailed by the FBI. Yet he survived with his integrity intact to build a new career as an intrepid photojournalist, covering some of the most critical struggles of the latter half of the 20th century. In this biography, written two decades after his death, his daughter introduces this quirky, accomplished, politically engaged family man of the "Greatest Generation," who was both of and ahead of his times. Polumbaum's fortitude, humor and optimism emerge, animated by the conscience of principled dissidence and social activism. His photography, with its unpretentious portrayals of the famous, the infamous, and the unsung heroes of humanity around the world, reflects his courage in the face of mass hysteria and his lifelong commitment to social justice.

Beirut born and based visual artist and creative director Eli Rezkallah founded the visual arts magazine Plastik in 2009. It was unlike anything that had been produced in the Middle East previously, with photographs of drag queens, nudity, bold colour, dramatic staging, and cutting edge visual stories by himself and other artists. In addition to the magazine, Plastik is now a studio, a gallery, and a social media presence. This book is a best-of celebration of Eli Rezkallah's work from Plastik, capturing his accessible, provocative, and socially astute work in a single volume. "Plastik's gift to the world is beauty, colour, magic and imagination. The gift is more important today than ever before." RuPaul

"Bruce Springsteen in All His Rock Star Glory." -Janet Macoska, The Daily Beast "Two careers were born on that cold night in 1974. Macoska would blossom into one of the most notable rock 'n' roll photographers of the last 50 years. And Springsteen was on his way to becoming The Boss." -Jay Crawford and Meg Hambach, wkyc3 "...Live In The Heartland covers almost five decades of touring from The Boss, and also includes set-lists and corresponding editorial content. The majority of the photos are previously unseen." -Classic Rock Magazine "There's only one boss of rock 'n' roll." -Tria Wen, Reader's Digest "... an energetic and moving visual tour that records the romance between The Boss and the Cleveland stages." -GQ Mexico Five decades of blue-jeans, down-to-earth rock 'n' roll. Five decades of poetic, authentic performances, political commentary, global tours and even a Broadway show. Bruce Springsteen hasn't just left an impact on the surface of modern music, he helped shape its foundations. From the early beginnings in 1974 to the seminal Born in the USA - one of the best-selling albums of all time - to the 2016 River Tour, the highest grossing tour of the year, Springsteen has a truly timeless appeal, captured here by lauded rock photographer, Janet Macoska. Macoska charts Springsteen through the ages. Through her lens we witness his enduring energy on the stage, from 1974 to 2016. Here is Springsteen at his finest: a down-to-earth superstar, whose powerful performances stand the test of time. "Bruce would rip his heart out and give it to his audience. He put everything into his performance. He was all over the stage, and the whole rest of the band was in lockstep, complimenting that energy. It was going out to the audience in bundles. We were sending it back , too, and that's really electric. That energy, those visuals? Photographers love that. It's perfect to have something like that to photograph." - Janet Macoska

Toiletpaper is an artists' magazine created and produced by Maurizio Cattelan and Pierpaolo Ferrari, born out of a passion or obsession they both cultivate: images. The magazine contains no text; each picture springs from an idea, often simple, and through a complex orchestration of people it becomes the materialization of the artists' mental outbursts. Since the first issue, in June 2010, Toiletpaper has created a world that displays ambiguous narratives and a troubling imagination. It combines the vernacular of commercial photography with twisted narrative tableaux and surrealistic imagery. The result is a publication that is itself a work of art, which, through its accessible form as a magazine, and through its wide distribution, challenges the limits of the contemporary art economy.

Photography is ubiquitous. The visual image is the predominant form of communication. Arguably it is a very democratic medium, since billions of people all over the planet take photographs on their phones, and digital storage means that expensive printing is not necessary and therefore the practice is not prohibitive. Photography is important to political and social movements and connects people in emotionally meaningful relationships. This book explores the myriad ways in which photographs can be used: to document events, places or things; to consolidate personal identity; to pose a challenge to an idea or regime; to animate the inanimate (in other words, to breathe life into objects); to capture the fleeting and transitory; to create stories; to reveal what may be taken for granted, including seeing social practices; to enhance our perception and allow us to notice previously unnoticed details; to consolidate relationships; to represent the overlooked or marginalised; to commemorate; to authenticate; to tantalise. All these modes of photography have different possibilities, different intentions and different effects.

A magisterial study of celebrated photographer Walker Evans Walker Evans (1903-75) was a great American artist photographing people and places in the United States in unforgettable ways. He is known for his work for the Farm Security Administration, addressing the Great Depression, but what he actually saw was the diversity of people and the damage of the long Civil War. In Walker Evans, renowned art historian Svetlana Alpers explores how Evans made his distinctive photographs. Delving into a lavish selection of Evans's work, Alpers uncovers rich parallels between his creative approach and those of numerous literary and cultural figures, locating Evans within the wide context of a truly international circle. Alpers demonstrates that Evans's practice relied on his camera choices and willingness to edit multiple versions of a shot, as well as his keen eye and his distant straight-on view of visual objects. Illustrating the vital role of Evans's dual love of text and images, Alpers places his writings in conversation with his photographs. She brings his techniques into dialogue with the work of a global cast of important artists-from Flaubert and Baudelaire to Elizabeth Bishop and William Faulkner-underscoring how Evans's travels abroad in such places as France and Cuba, along with his expansive literary and artistic tastes, informed his quintessentially American photographic style. A magisterial account of a great twentieth-century artist, Walker Evans urges us to look anew at the act of seeing the world-to reconsider how Evans saw his subjects, how he saw his photographs, and how we can see his images as if for the first time.

Walking down the street in the heart of New York City is an experience that can't be duplicated anywhere else in the country, perhaps even the world. One merges into the impromptu flow and is carried along by the ongoing current of migratory souls. Harvey Stein documents the iconic areas of Midtown and Downtown Manhattan in 172 beautiful black-and-white photographs taken over 41 years, from 1974 through 2014. The photographs are intimate and personal. They document the close encounter between the photographer and his subjects while showing the mutuality between people. The black-and-white images enhance the sense of the past. To heighten the feeling of movement, anxiety, and vigor, blur, grain, low-angle flash, skewed perspectives, tight cropping, and wide-angle views are employed. The images sweep the viewer into the experience and feel of walking the streets of New York City.

Syrians fleeing their homes to escape civil war retain one crucial line of communication with those left behind. For these refugees, the mundane act of texting is transformed into an exchange of precious communiques that confirm the survival or death of their loved ones.In Texting Syria, Toronto-based photographer Liam Maloney examines mobile phone technology as a conduit for the struggles and strength of Syrians exiled in Lebanon. His photographic portraits, audio recordings and reproductions of refugees' real text messages combine in testimony to the private dramas of wartime, exposing intimate parallel narratives beyond those that are represented in conventional documentary photography.His innovative and multi-sensory approach to documenting Syrian refugees' experiences has led Maloney to become a recipient of the Prix Dazibao, as well as being nominated for Picture Story of the Year by the News Photographers Association of Canada. Texting Syria has been exhibited in Canada, the US, Turkey, Norway and Switzerland

BEFORE THEM, WE is an anthology that explores the lives of migrant grandparents and elders from Africa, unpacking the intimate details of their lives before the families they went on to establish: who they loved, where and why they migrated, why they had families. A collaborative act of sharing by poets of African descent, bringing their personal stories into conversation with each other, BEFORE THEM, WE is a multi-layered meditation on how we engage with the practice of memory. Featuring a mix of commissioned writers, and poets who responded to a call-out, ranging from Gen Z to mature voices, BEFORE THEM, WE's 24 contributors include: multi-disciplinary artist, poet and playwright Dzifa Benson; Nigerian-born, award-winning poet, playwright and performer Inua Ellams; Zimbabwean literary and sound artist Belinda Zhawi; queer non-binary Nigerian/Togolese writer and performer Michelle Tiwo; Ghanaian-British producer and writer Nii Ayikwei Parkes, who has won acclaim as a children's author, poet, broadcaster and novelist; Hodan Yusuf, a writer, actress, multimedia journalist and trainer in conflict resolution; Somali digital cultural archivist and independent researcher Ibrahim Hirsi; and Ola Elhassan, a Sudanese poet and electrical engineer.

After the death of her father, Sakellaraki's photography emerged as a passageway to navigate her personal grief. The project evolved to explore collective mourning in Greek society, ancestral rituals, private trauma and the passage of time-inspired by the last female communities of mourners in the Mani peninsula of Greece. 'In the wake of witnessing loss globally within our cultures and civilisations, I want to stimulate the viewer to rethink mortality through this imagined path of departure onto a new landscape. ..The Truth is in the Soil, reflects on how my personal story has transformed into a collective narrative of loss aiming at contributing to the collection of tales of human struggle for meaning. To me, these images work as vehicles for mourning perished ideals of vitality, prosperity and belonging, attempting to tell something further than their subjects by creating a space where death can exist.'

?????? One of Britain's leading contemporary photographers, Nick Waplington is known for photographing British social scenery and his life and close circle of friends and family in East London, where he lives and works. ?????? Double Dactyl accompanies his solo exhibition of the same name at The Whitechapel Gallery, London. ?????? Waplington first came to public notice with Living Room (1991), a photographic portrait based on the everyday lives of two close-knit families in Nottingham, England. ?????? Since then he has often worked in book form. Double Dactyl expands on previous work, now referencing the grand traditions of history painting, classical mythology and landscape photography. ?????? This new work also explores notions of photographic "reality," by working with constructed and manipulated images taken from his own large format photographs. ?????? Double Dactyl features 56 colour reproductions of this new body of work, its surreal and often subtle use of manipulation confirming Waplington's idiosynchratic approach to contemporary photographic practice. Nick Waplington has exhibited internationally including at Deitch Projects, New York, The Philadelphia Mudeum of Modern Art and the 2001 Venice Biennale. He lives and works in London. Also Published by Trolley You Love Life (2005) Learn How To Die The Easy Way (2001)

This new paperback edition features 'No Less a Woman', the breast cancer awareness campaign with Stella McCartney. 100 women bravely share un-airbrushed photographs of their breasts alongside honest, courageous, powerful and humorous stories about their breasts and their lives. Women from all walks of life took part, aged from 19 to 101, sized AAA to K, from Buddhist nun to burlesque dancer. Their perspectives and experiences are revealing and profoundly moving. Intimate, visually refreshing, maybe even surprising, Bare Reality will make you reconsider how you think and feel about your own body, and those of the women in your life.

Spell Songs is a musical companion piece to The Lost Words: A Spell Book by author Robert Macfarlane and artist Jackie Morris. This mixed media CD is accompanied by sumptuous illustrations from Jackie Morris, new 'spells' by Robert Macfarlane, enlightening thoughts by Robert, Jackie and Spell Singer Karine Polwart and stunning photography by Elly Lucas. In 2018 Folk by the Oak Festival commissioned Spell Songs because of their love of The Lost Words book. Spell Songs comprises eight remarkable musicians whose music engages deeply with landscape and nature; musicians who are perfectly placed to respond to the creatures, art and language of The Lost Words. They spent a week in Herefordshire bringing this music together in the company of Jackie Morris. Art inspired music and music inspired art. Jackie Morris immersed herself in the musical residency where she generously created new iconesque artwork of each musician and their instruments portrayed in an unexpected and enchanting way. These stunning new artworks accompany the CD. Spell Songs allowed these acclaimed and diverse musicians to weave together elements of British folk music, Senegalese folk traditions, and experimental and classical music to create an inspiring new body of work. Here are 14 songs which capture the essence of The Lost Words book. Spoken voice, whispers, accents, dialects, native languages, proverbs, sayings, birdsong, river chatter and insect hum all increase the intimacy of the musical world conjured by the songs. Inspired by the words, art and ethos of The Lost Words book, each musician brings new imaginings, embellishments and diversions which are rooted in personal experience, a deep respect for the natural world, protest at the loss of nature and its language and an appreciation for wildness and beauty. In February 2019 Spell Songs enjoyed standing ovations at sell-out performances in major venues across the UK culminating at The Queen Elizabeth Hall at the Southbank Centre, London. Spell Songs was a highlight of The Hay International Literary Festival 2019 and in August 2019 they were invited to perform at the BBC's Lost Words Prom in the Royal Albert Hall. They will continue to tour each year. "There are songs here that would live with me for the rest of my years, even if I'd had no part in their making". Robert Macfarlane

This landmark book offers a synthesis of celebrated Magnum photographer Susan Meiselas's views on her work and the role of the documentary photographer. Through text drawn largely from exclusive interviews with editor Mark Holborn, she offers a remarkable commentary on her career, from early work with carnival strippers, through groundbreaking reportage on Nicaragua and El Salvador, to projects encompassing subjects as varied as the Dani tribe of Indonesia, the Kurds of Northern Iraq and victims of domestic violence in California. Central to Meiselas's work are themes of collaboration, return and exchange. With over 110 photographs - some classics, others rarely published - this book demonstrates how the frontline on which Meiselas has worked involves a bearing of witness and a gathering of evidence. As Meiselas has stated: `To continue on is to be curious - to be compelled to confront, to examine, to expose, to engage, and not know where you will end up or how the journey will change you. The frontline is always a choice.'

When I Think About Power is a black and white photo series showcasing over 70 portraits focusing on the notion of power as it relates to the Black queer experience. Started in 2019, this project investigates and nourishes modern-day's reimagining of man through themed chapters questioning the conflicting dynamics of the Black queer man's power. Hart's approach to this work is rooted in an examination of his own journey towards self-acceptance growing up in Macon, Georgia, as he states in the coinciding text, every day of my life I have been called my father. Through the process of visually exploring the differences and similarities between himself and the men who surround him, studying the words of Black queer icons, and even researching the visibility of power throughout history in societies like the Ming dynasty or ancient Egypt, Hart has created a poetically driven collection of images that unravel a power that plenty of queer individuals seek to find at some point in their life while simultaneously depicting the struggle that can often align itself with this power. From queerness, dress, to heritage, this series documents the journey of discovering the power within.

In Instanton, photographer and filmmaker Anton Corbijn presents a series of images, most of which have never been published previously. Corbijn gained his fame and reputation with his portraits of famous figures including Nick Cave, Tom Waits, The Rolling Stones, Marlene Dumas, Gerhard Richter, Clint Eastwood, Kate Moss and a host of other influential musicians, artists, filmmakers, models and designers. But over the years, Corbijn has also captured a wealth of intriguing images on his mobile phone. Instanton brings together a wide selection of these snapshots from his private life, as well as shots taken whilst travelling, recording 'the profane and the profound'.

Beautiful, haunting photographs of abandoned places around the world. Once thriving buildings now ravaged by nature and time are the subject of this fascinating book. The vestiges of Abkhazia, a country that does not exist, an abandoned power plant turned into a set for Hollywood movies, the Buffer Zone in Cyprus, the ghost city of the Chernobyl disaster, an Art Nouveau theatre in Brussels, a unique 18th-century Italian fortification, the city of Tskaltubo with its waters of immortality, one of the oldest baths in Romania… Roman Robroek is an urban-obsessed and award-winning photographer, born and raised in the enchanting south of the Netherlands. He takes unique photos of forgotten and abandoned places all over the world. What is the story behind those buildings? Who used to live there? What purpose did these objects serve, and why were they abandoned? This curiosity has created a close bond between him and Urban Photography, and Oblivion is the result of the last 10 years, which he spent exploring incredible ghostly locations, trying to answer these endless questions.

American photographer Francesca Woodman produced six artist's books during her short, troubled life. Presented here is a facsimile edition of one of those notebooks. They are refined and evocative objects, created from old school notebooks found in Rome, in which she transcribed in elegant and small handwriting various texts and poems, in French and in Italian, and on which she affixed a sequence of some of her photographs. A precious facsimile edition presents for the first time one of these notebooks, chosen by Francesca's family for its beauty. Black and white images are covered, like in the original notebook, by a translucent film that makes the contrast with the notebook paper even more evocative.

Since the invention of photography in the nineteenth century, Africa has been defined largely by Western images of its cultures and traditions. From the colonial carte de visite and ethnographic archive to the rise of studio portraiture and social documents of racial surveillance, the fraught relationship between Africa and the photographic lens has become inseparable from the discourses of post-colonialism. Challenging these dominant images of exoticism and otherness, this book illustrates how photography has allowed artists to reimagine African histories through the lens of the present, to shape our understanding of the contemporary realities we face. Bringing together a diverse range of artists and thinkers to present varied perspectives on issues such as cultural heritage and restitution, spirituality, urbanism and climate change, it reveals how innovative contemporary photography challenges perceptions of history, culture and identity.