In her feminist inquiry into aesthetics and the sublime, Claire Raymond reinterprets the work of the American photographer Francesca Woodman (1958-1981). Placing Woodman in a lineage of women artists beginning with nineteenth-century photographers Julia Margaret Cameron and Clementina, Viscountess Hawarden, Raymond compels a reconsideration of Woodman's achievement in light of the gender dynamics of the sublime. Raymond argues that Woodman's photographs of decrepit architecture allegorically depict the dissolution of the frame, a dissolution Derrida links to theories of the sublime in Kant's Critique of Judgement. Woodman's self-portraits, Raymond contends, test the parameters of the gaze, a reading that departs from the many analyses of Woodman's work that emphasize her dramatic biography. Woodman is here revealed as a conceptually sophisticated artist whose deployment of allegory and allusion engages a broader debate about Enlightenment aesthetics, and the sublime.

Robert Mapplethorpe's black-and-white Polaroid photographs of the 1970s--a medium in which he established the style that would bring him international acclaim--are brought together in this new paperback edition. Critically praised for his finely modeled and classically composed photographs, Robert Mapplethorpe remains intensely controversial and enormously popular. This book brings together almost 300 images from the Robert Mapplethorpe Foundation's archive and private collections to provide a critical view of Mapplethorpe's formative years as an artist, revealing the themes that would inspire Mapplethorpe throughout his career. Included is a selection of color Polaroids and objects incorporating his early "instant" photography. Some images convey a disarming tenderness and vulnerability, others a toughness and immediacy that would give way in later years to more classical form. The author traces the development of Mapplethorpe's use of instant photography over a period of five years, from 1970 to 1975, when the artist worked mainly in this medium. The images include self-portraits; figure studies; still lifes; portraits of lovers and friends such as Patti Smith, Sam Wagstaff, and Marianne Faithful; and observations of everyday objects. Marked by a spontaneity and creative curiosity, these fragile images offer an illuminating contrast to the glossy perfection of the work for which Mapplethorpe is best known, allowing us a more personal glimpse of his artistry.

Eye on Africa: Thirty years of Africa images, selected by Salgado himself Sebasti?o Salgado is one the most respected photojournalists working today, his reputation forged by decades of dedication and powerful black and white images of dispossessed and distressed people taken in places where most wouldn?t dare to go. Although he has photographed throughout South America and around the globe, his work most heavily concentrates on Africa, where he has shot more than 40 reportage works over a period of 30 years. From the Dinka tribes in Sudan and the Himba in Namibia to gorillas and volcanoes in the lakes region to displaced peoples throughout the continent, Salgado shows us all facets of African life today. Whether he's documenting refugees or vast landscapes, Salgado knows exactly how to grab the essence of a moment so that when one sees his images one is involuntarily drawn into them. His images artfully teach us the disastrous effects of war, poverty, disease, and hostile climatic conditions. This book brings together Salgado's photos of Africa in three parts. The first concentrates on the southern part of the continent (Mozambique, Malawi, Angola, Zimbabwe, South Africa, Namibia), the second on the Great Lakes region (Congo, Rwanda, Burundi, Uganda, Tanzania, Kenya), and the third on the Sub-Saharan region (Burkina Faso, Mali, Sudan, Somalia, Chad, Mauritania, Senegal, Ethiopia). Texts are provided by renowned Mozambique novelist Mia Couto, who describes how today's Africa reflects the effects of colonization as well as the consequences of economic, social, and environmental crises. This stunning book is not only a sweeping document of Africa but an homage to the continent's history, people, and natural phenomena.

In the late 1950s and early 1960s French New Wave cinema exploded onto international screens with films like Les quatre cents coups, A bout de souffle and Jules et Jim. They were radical, artistic, original and most importantly set up the director as a creative genius; at the forefront were Francois Truffaut and Jean-Luc Godard. Today these films are credited with changing cinema forever. For many film goers they command strong and passionate respect and became the foundations on which a lifetime of cinema-going is built. In the photographs of Raymond Cauchetier we bear witness to the great artistic genius that was central to the process of making these films. Cauchetier's photographs are a culturally important documentary of the director at work, his methods and processes. His photographs capture some of the most memorable moments in film; Jean-Paul Belmondo and Jean Seberg on the Champs Elysees in A bout de souffle, Jeanne Moreau in the race scene of Jules et Jim, Anna Karina in a Parisian Cafe in Une femme est une femme. But Cauchetier's genius lies also in the fact that his photographs are far above just a visual record of these films. They clearly show the same spirit, the same freedom and the same originality that made The New Wave so important. Cauchetier's photographs are as much a part of The New Wave as the films themselves. In the words of Richard Brody: In these images, Raymond Cauchetier, a witness to art, made art by bearing true witness. This is the first book published in English featuring the New Wave film photographs of Raymond Cauchetier.

Working with a large format 5x4 camera, Gli Isolani draws upon the visual language of Tomlinson's previous projects, lending the black and white photographs a veil of timelessness. At the project's genesis, Alys researched the literature and poetry connected to the history and culture of the islands of Italy, exploring tradition and identity, ancient myths, folklore and fairy tales. Set against crumbling stone and rural fields, the images depict the elaborate and uncanny costumes and masks worn for Holy Week, and other events and festivals, sometimes inspired by pagan ritual and beliefs. The fantastical tales and precious costumes have been passed down many generations within these communities where customs run deep. The gestures and the costumes depicted in the photographs draw on the relationship between man and the land, the sacred and the profane, and good and evil.

To celebrate the acquisition of the archive of distinguished artist Tom Phillips, the Bodleian Library asked the artist to assemble and design a series of books drawing on his themed collection of over 50,000 photographic postcards. These encompass the first half of the twentieth century, a period in which, thanks to the ever cheaper medium of photography, ordinary people could afford to purchase their own portraits. These portraits allowed individuals to create and embellish their own self images, presenting themselves as they wished to be seen within the trends and social mores of their time. Each book in the series contains two hundred images chosen from a visually rich vein of social history. Their back covers also feature thematically linked paintings, specially created for each title, from Phillips's signature work, " A Humument." "Weddings" captures all the excitement and drama of the stages of the ceremony from preparations to wedding vehicles to family and friends in lively scenes in churches and homes. These unique and visually stunning books offer a rich glimpse of forgotten times and will be greatly valued by art and history lovers alike. "These images are captivating visual vignettes. We may not know who the subjects are, but the postcards offer us a glimpse of their interests, their time, and their world. Tom Phillips's exceptional collection gives us a fascinating chance to retrieve something of these lives."--Sandy Nairne, Director, National Portrait Gallery, London "Picture postcards from a century ago capture unique moments in time and place and are a wonderful social history record. Tom Phillips is adept at seeking out and choosing amazingly evocative postcard images."--Brian Lund, editor, "Picture Postcard Monthly"

Funny, profound, absurd, and filled with unexpected beauty, this new photobook from American artist Jason Fulford is a collection of twelve stories drawn from a decade of encounters with Italy. Taking the form of a novel-sized paperback, the book includes meetings with ball-breaking bakers, an exploding museum cellar, Aldo Rossi's notes on happiness, the center of the Earth, and Guido Guidi's garage. Fulford's pictures are deceptively simple, imbued with a gift for composition that brings forth metaphors and meaning. Known internationally for his skill as an editor, Fulford uses layered articulation and careful sequencing to suggest ambiguous meaning and invite endless reading.

A quirky, photographic exploration of two beloved subjects: breakfasts and dogs. Curiosity. Longing. Hunger. Bread and a Dog is a quirky photographic journey into the psychic trauma of living with a professional food stylist... as a dog. Japanese food stylist Kuwahar Natsuko photographs her breakfast, laid out every morning, in beautifully arranged aerial tableaus with an unexpected twist, her omnipresent, exceptionally well-trained dog. Through 100 photographs, readers will delight not only in Natsuko's delicious meals served on beautiful dishes, glassware and flatware, but in the dog's enthrallment with what is happening on the table above him. Presented as a sequence of photographs, the book concludes with recipes for each breakfast, and tips and tricks on food photography from Natsuko herself. A perfect gift for animal lovers. Features: - Recipes and tips for successful and stylish breakfasts from the author, a professional food stylist. - 100 charming photographs of an adorable dog taken from a refreshing and relatable point of view. Perfect gift or impulse buy for animal or food lovers.

Throughout the late 1980s and early 1990s, a radical cultural scene emerged in cities across the globe, finding expression in the galleries, nightclubs, and bedrooms of New York, London, Los Angeles, and Rome. In Lyle Ashton Harris: Today I Shall Judge Nothing That Occurs , the artist's archive of 35 mm Ektachrome images are presented alongside journal entries and recollections from a host of artistic and cultural figures. It offers a unique document of what Harris has described as "ephemeral moments and emblematic figures shot in the 1980s and '90s, against a backdrop of seismic shifts in the art world, the emergence of multiculturalism, the second wave of AIDS activism, and incipient globalization." As a young artist experimenting with installation, performance, and collage at the time, Harris obsessively photographed his friends, lovers, and individuals who either were, or would become, figures of influence, such as Marlon Riggs, Cornel West, bell hooks, Stuart Hall, Klaus Biesenbach, Nan Goldin, Catherine Opie, Glenn Ligon, and others. The images record the confluence of multiple international communities- gathering points for the exchange of ideas and the development of theoretical positions on art and culture that continue to resonate to this day. Together, these photographs and the journals not only sketch a personal history of a unique time of importance to contemporary art, but also show the development and shaping of Harris's eye and influences as an artist.

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.

A close look at Man Ray's interwar portraiture, as well as the friendships between the photographer and his subjects: the international avant garde in Paris Shortly after his arrival in Paris in July 1921, Man Ray (1890-1976)-the pseudonym of Emmanuel Radnitzky-embarked on a sustained campaign to document the city's international avant-garde in a series of remarkable portraits that established his reputation as one of the leading photographers of his era. Man Ray's subjects included cultural luminaries such as Berenice Abbott, Andre Breton, Jean Cocteau, Marcel Duchamp, Ernest Hemingway, Miriam Hopkins, Aldous Huxley, James Joyce, Lee Miller, Meret Oppenheim, Pablo Picasso, Alice Prin (Kiki de Montparnasse), Elsa Schiaparelli, Erik Satie, and Gertrude Stein. As this lavishly illustrated publication demonstrates, Man Ray's portraits went beyond recording the mere outward appearance of the person depicted and aimed instead to capture the essence of his sitters as creative individuals, as well as the collective nature and character of Les Annees folles (the crazy years) of Paris between the two world wars, when the city became famous the world over as a powerful and evocative symbol of artistic freedom and daring experimentation. Distributed for the Virginia Museum of Fine Arts Exhibition Schedule: Virginia Museum of Fine Arts, Richmond (October 30, 2021-February 21, 2022)

More than any other artist, Walker Evans invented the images of essential America that we have long since accepted as fact, and his work has influenced not only modern photography but also literature, film and visual arts in other mediums. The original edition of "American Photographs" was a carefully prepared letterpress production, published by The Museum of Modern Art in 1938 to accompany an exhibition of photographs by Evans that captured scenes of America in the early 1930s. As noted on the jacket of the first edition, Evans, "photographing in New England or Louisiana, watching a Cuban political funeral or a Mississippi flood, working cautiously so as to disturb nothing in the normal atmosphere of the average place, can be considered a kind of disembodied, burrowing eye, a conspirator against time and its hammers." This seventy-fifth anniversary edition of "American Photographs," made with new reproductions, recreates the original 1938 edition as closely as possible to make the landmark publication available for a new generation. "American Photographs" has fallen out of print for long periods of time since it was first published, and even subsequent editions--two of which altered the design and typography of the book in small but significant ways--are often available only at libraries and rare bookstores. This version, like the fiftieth-anniversary edition produced by the Museum in 1988, captures the look and feel of the very first edition with the aid of new digital technologies.
Walker Evans (1903-1975) took up photography upon his return to New York in 1927, following a year in Paris when his aspiration to become a writer withered in the shadow of Fitzgerald, Hemingway and Joyce. In 1935, Evans was commissioned by the Farm Security Administration to photograph the effects of the Great Depression in the Southeast. During this time he took many of the photographs that appeared in his collaboration with James Agee, "Let Us Now Praise Famous Men "(1941), a book which has become a defining document of that era. Evans joined the staff of "Time "magazine in 1945 and shortly thereafter became an editor at "Fortune," where he stayed for the next two decades. In 1964, he became a professor at the Yale University School of Art, where he taught until his death in 1975.

Celebrate the kings of the canine world with this collection of photographs and information by award-winning author and wildlife photographer Stan Tekiela. Their beauty strikes us. Their mystique enchants us. Wolves, coyotes, and foxes are beloved, appreciated, and misunderstood. A sighting in nature is rare, which serves to enhance our fascination with these magnificent animals. Award-winning author, naturalist, and wildlife photographer Stan Tekiela believes that wolves, coyotes, and foxes are mystical and elusive. He spent more than 20 years traveling across the United States and Canada to observe and photograph the various species, from Gray Wolves and Arctic Foxes to Coyotes and Red Wolves. He documented every aspect of the canines' secret lives: major events such as mating, as well as everyday activities including hunting, playing, and socializing. The result is a striking portrayal of these mammals in Wolves, Coyotes & Foxes. Stan's extraordinary photographs depict the creatures in a new, unique fashion. His fascinating text, drawn from detailed research and personal observations, provides information about every aspect of their lives. Presented with headings and short paragraphs, the coffee-table book is pleasurable to browse and easy to read. "Their presence commands respect and attention," says Stan. "They are nature's perfect model of a family." Unmatched by any other book on the market, Wolves, Coyotes & Foxes is a must-have for lovers of wildlife and nature.

Mona Kuhn: Works is the first retrospective by one of the most respected and widely exhibited contemporary art photographers of today. Throughout a career spanning more than twenty years, Kuhn's underlying theme involves humanity's longing for spiritual interconnectivity. She is renowned for developing close relationships with her subjects, resulting in images of remarkable intimacy. Kuhn employs a range of playful visual strategies that reveal glimpses into the psyche as it is expressed through the human form, ultimately reinterpreting the nude in the canon of contemporary art. This new volume features images from throughout Kuhn's career, including previously unseen work, and will introduce her distinct aesthetic to a wide, popular audience. Accompanied by insightful texts by Rebecca Morse, Chris Littlewood, Darius Himes and Simon Baker and an interview with Elizabeth Avedon, the reader is provided with insights into Kuhn's creative process and the ways in which she works with her subjects and settings, and achieves the visual signature of her imagery. Mona Kuhn: Works is an essential volume for anyone with an interest in the human form in contemporary art. With 155 illustrations in colour

The last book completed by William Klein within his lifetime: A landmark retrospective encompassing Klein's legacy of creativity across photography, filmmaking, painting, book design, graphic design and beyond. Photographer. Filmmaker. Artist. Designer. To master one of those disciplines would be a lifetime achievement for any creative individual, yet William Klein's career was celebrated in each of them over the last eight decades. Klein was one of the great image makers of the 20th century and one whose work remains an enduring creative influence on the work of contemporary artists, photographers and filmmakers. With over 250 images, this career retrospective explores the late William Klein's entire creative and artistic arc. Directed by Klein himself, from the selection of content to book design, this large-format publication looks back at his uncompromisingly creative lifetime, showcasing Klein's prolific and relentlessly innovative contribution to the world of photography, art, design and filmmaking. Published in association with a major retrospective at the International Center of Photography, this book is a comprehensive take on his career. While best known as a photographer who broke all the rules and conventions, William Klein: Yes focuses on the full range of Klein's work, from his abstract paintings through to his startling, authentic street photography and photobooks and his dynamic, satirical take on filmmaking. With a flowing, chronological text by David Campany, this book will be both an introduction to William Klein for a new generation and a source of fresh insights for those who already know who William Klein was: a true original.

One of the most significant photographers of our time, Stephen Shore has often been considered alongside other artists who rose to prominence in the 1970s by capturing the mundane aspects of American popular culture in straightforward, unglamorous images. But Shore has worked with many forms of photography, switching from cheap automatic cameras to large-format cameras in the 1970s, pioneering the use of colour before returning to black and white in the 1990s, and in the 2000s taking up the opportunities of digital photography, digital printing and social media. Stephen Shore encompasses the entirety of the artist's work of the last five decades, during which he has conducted a continual, restless interrogation of image making, from the gelatin silver prints he made as a teenager to his current engagement with digital platforms. Published to accompany the major exhibition at The Museum of Modern Art, New York, the book allows for a fuller understanding of Shore's work, and demonstrates his singular vision - defined by an interest in daily life, a taste for serial and often systematic approaches, a strong intellectual underpinning, a restrained style, sly humour and visual casualness - and uncompromising pursuit of photography's possibilities.

"Haunting photographs" - The Wall Street Journal. "Henk van Rensbergen is a hero for urban explorers around the world" - Flanders Today. "As an airline pilot, Belgian-born Henk Van Rensbergen was used to travelling the world. But he found a great way to supersize that passion: hunting for the most wonderful, secret, haunting abandoned places" - CNN. While his crew is resting at the pool, pilot and photographer Henk van Rensbergen explores deserted city palaces, overgrown factories or desolate areas of nature, finding beauty in the decay. This engaging book of photographs, a revised edition with new material, lets us wander through abandoned places, including Abkhazia, a break-away region bordering Georgia and Russia and the newest must-visit for every urban explorer.

In A Third Look, Joseph Maida reflects on Lee Friedlander's nudes from the 1970's and 80's, reinterpreting this series as a cutting edge homage both to Friedlander, the modernist titan of photography, and to LGBTQIA+ bodies across gender and identity spectra. When curator John Szarkowski first presented Friedlander's nudes in a solo exhibition at the Museum of Modern Art (MoMA) in 1991, he wrote that "the qualities of generosity and openness, and the habit of continual exploration-of logical extemporization enlivened by an unassuming audacity" make Friedlander's nudes so "richly and rewardingly complex." Maida, viewing the traits of openness, exploration, extemporization, and audacity as queerness itself, reimagined Friedlander's nudes by picturing different bodies in A Third Look to converse with Friedlander's. Maida calls their feminist reclamation of history "a visual queering of modernist photography, providing a visible reconciliation of where the canon of art photography has historically allowed us to see" with the broader spectrum of the human nude.