A spirited memoir by artist Aviva Rahmani, offering a relatable narrative to discuss trigger point theory and the importance of eco-art activism. Divining Chaos is an intimate personal memoir of unparalleled transparency into the moments in Rahmani's life that shaped her as an artist and activist. Detailing the history that led her to two seminal projects-Ghost Nets, restoring a coastal town dump to flourishing wetlands, and The Blued Trees Symphony, which applied her premises to challenge natural gas pipelines with a novel legal theory about land use-Rahmani shares the decisions that shaped her life's work and thinking. Her discussions about trigger point theory argue for how to predict, confront, and determine outcomes to the ecological challenges we face today.

As a young man, living in Manhattan in the 1970s and '80s, Frank Rispoli was drawn to the New Wave and Punk club scenes. Recognising the inherent performance of sexuality and desire in both fashion and club culture, he documented the intertwining of the two. Always with a camera strapped around his neck, he frequented Danceteria, Tier 3, Max's Kansas City, Studio 54 and many other clubs in Soho, Chelsea, the Lower East Side, and Midtown. Rispoli asked female clubgoers, bar patrons, singers, and band members if he could photograph their shoes, utilising the staged sets, props, and bathrooms of the clubs, and the taxis, sidewalks, and rooftops of the city, as his backdrops. A selection of these photographs forms the basis of his first book - High Heels. Rispoli attributes his interest in women's shoes to his inability, as a teenager, to look women in the eye and, due to his shyness, focusing on their feet instead. He drew further inspiration from the work of Guy Bourdin, and his advertising photography of the period. Rispoli continues, in his photographs, to capture the fun, freedom, and performance found in other outsider communities and events, such as Wigstock, and the burgeoning art scene in Bushwick, Brooklyn.

Known for her evocative portraits, Diane Arbus is a pivotal figure in American postwar photography. Undeniably striking, Arbus's black-and-white photographs capture a unique gaze. Criticized as well as lauded for her photographs of people deemed "outsiders," Arbus continues to attract a diversity of opinions surrounding her subjects and practice. Critics and writers have described her work as "sinister" and "appalling" as well as "revelatory," "sincere," and "compassionate." In the absence of Arbus's own voice, art criticism and cultural shifts have shaped the language attributed to her work. Organized in eleven sections that focus on major exhibitions and significant events in Arbus's life, as well as on her practice and her subjects, the seventy facsimiles of articles and essays--an archive by all accounts--trace the discourse on Diane Arbus, contextualizing her hugely successful oeuvre. Also with an annotated bibliography of more than six hundred entries and a comprehensive exhibition history, Documents serves as an important resource for photographers, researchers, art historians, and art critics, in addition to students of art criticism and the interested reader alike.

The idea of America, and the American identity, has been central to this country's cultural conversation and debate since its inception. America -- past, present, and future -- is an ongoing experiment in free will and liberty for all who reach its welcoming shores, plow its fertile soil, and raise their children to achieve that great promise of the American Dream. In The American Experiment, photographer Brandon Ralph presents an exploration of the patriotic symbols, the vast and varied landscape, and the tapestry of humanity that poses the question anew: What makes an American? The result is a finely wrought collection of moments and Americans captured in time, separated by decades and by state lines, by events of national significance and by the invisible routines of day-to-day life. In Ralph's starkly beautiful and unwaveringly sensitive images, there is a sense of timelessness that speaks to our collective nostalgia, our unflagging optimism, and our unending pursuit of freedom for all people.

Frederick Law Olmsted's career as a landscape architect was long and varied. The best-known fruits of that career were surely the great urban parks: Central Park in Manhattan, Prospect Park in Brooklyn, Franklin Park in Boston. But most of this took place after the Civil War. Prior to 1865, Olmsted had built a public reputation as an author and journalist (producing three historically important books on slavery and the antebellum South) and as General Secretary of the Sanitary Commission of the Union Forces, the committee in charge of organizing medical treatment for the military during the war. He had also previously been an apprentice merchant, a seaman, a farmer, and manager of a mining plantation in California. His life had been marked by innumerable illnesses and accidents. His personality was notable for its contentiousness and obsessiveness.

Working from Olmsted's own personal and professional writings, Melvin Kalfus seeks to establish in this, the first biography of Olmstead to appear in a decade and a half, the connections between the many facets of Olmstead's life and work. Kalfus shows how Olmsted's childhood afflictions provided him with the inner sources of his creative imagination, provided the symbolism that was the linguistic and visual vocabulary employed in his work, fired his ambition, and led him so obsessively to seek the world's esteem through his works. Finally, Kalfus argues that Olmsted's individual psychodynamics fitted him uniquely to the role of the creative professional in public life-- the agent (or "delegate") for his society's needs-- needs that were unspoken as well as spoken.

"Belgian solutions is first of all a title, that became a way of speaking: 'Look, a Belgian solution.' It all started with me stopping to take pictures of situations that I later began publishing on Facebook under this title. After some time people were sending me more and more photos, not only from Belgium of course, but from all over the globe, pictures that in very different and individual ways always kept saying: 'Look, a Belgian solution.' or simply: 'Look, a solution.'" - David Helbich. Not every solution is an answer to a problem. The Brussels-based artist David Helbich started collecting 'Belgian Solutions' in 2006. Once he started to share his photos online on Facebook in 2008 (the Belgian Solutions page has over 23,000 fans), the project gathered speed, with contributions by Belgian Solutions spotters all over the world. Luster is publishing the third, updated and improved edition of the original publication.

The unfolding events in the run up to the Iraq war had given Tom Hurndall, a 21-year-old British photojournalist, an increased curiosity and desire to journey to the Middle East. In February 2003, initially as an observer alongside the Human Shields, he left with a passion to make a difference, to record and photograph the truth for himself. We follow his journey first from Baghdad, then to Amman and the Al-Rweished refugee camp in Jordan, and finally on to the town of Rafah in Gaza close to the Egyptian border, where US peaceworker Rachel Corrie had been killed just weeks previously, On April 11th, unarmed and wearing and internationally recognized orange peacekeeper jacket, he was severely wounded while carrying Palestinian children to safety. He died nine months later in a London hospital. The book follows Tom's life and thoughts in the final weeks leading up to the shooing. Motivated by a sense of injustice and striving to remain objective we are drawn into his increasingly serious photographs and words, through extracts from his diary, emails and poems. It is realised through collaboration with the Hurndall family on the sixth anniversary of the fateful day, and with the recent Channel 4 film-documentary 'The Shooting of Thomas Hurndall'.

Beautiful yet haunting photographs of abandoned places in Lebanon – once thriving buildings now ravaged by nature and time are the subject of this fascinating, coffee table photo book. Lebanon is a country that still holds many secrets of what life was like there prior to the civil war, and more recently the Beirut port blast. Inside, we discover ruins, deserted buildings, and glamorous architecture all tucked away from the public eye. These include the abandoned mansion of a former prime minister, one of the most remarkable buildings in Zokak el-Blat, Beirut, a once glorious hotel now bearing its war wounds, a 17th-century palace in Deir El Qamar, and a stunning yet unfinished passion project, where each arch of the structure reflects a different civilisation. Award-winning photographer James Kerwin’s love affair with Lebanon started in 2017 when he began his research into locating interesting, unique, and abandoned architecture. That relationship grew stronger when he finally set foot in the country for the first time in 2019, and began uncovering these architectural delights.

Henri Cartier-Bresson was 'the eye of the 20th century' and one of the world's most acclaimed photographers. Paris was his home, on and off, for most of his life (1908-2004). The photographs he took of the city and its people manage to be both dreamlike and free of affectation. Here are around 160 photographs taken over a more than fifty-year career. Mostly in black and white, this selection reveals the strong influence on Cartier-Bresson of pioneering documentary photographer Eugene Atget (1857-1927), and the clear visual links with Surrealism that infused Cartier-Bresson's early pictures. After an apprenticeship with Cubist painter Andre Lhote, in 1932 Cartier-Bresson bought his first Leica, a small portable camera that allowed him to capture movement and the rhythms of daily life in Paris. Cartier-Bresson observed from close quarters the Liberation in August 1944 and the civil disturbances of May 1968. In between he also succeeded in capturing the faces of Parisians in their natural habitat, celebrated artists and writers and citizens alike. Ever-attentive to different ways of portraying the city around him, Cartier-Bresson returned to drawing during the last two decades of his life. This collection is not only a superb portrait of Paris in the 20th century, it is testament to Cartier-Bresson's skill as a supreme observer of human life. With 200 illustrations

A compact survey of the photographer Frank Horvat, best known for his fashion photography published between the mid 1950s and the late 1980s. Frank Horvat (1928-2020) changed the course of fashion photography forever. The Italian-born photographer made his debut as a photojournalist in France, where he continued to live and work for the rest of his life. It was here he met Henri Cartier-Bresson, who encouraged him to continue his marvellous photojournalism. By the mid-1950s Horvat was collaborating with the biggest fashion magazines in the world, such as Elle, Vogue and Jardin des Modes - revolutionizing fashion photography through a more realistic lens, photographing models on the streets, in the squares and alongside the locals of post-war Europe. Horvat's fresh and often imitated style, which brought reportage techniques and the 35mm film camera to the forefront of fashion photography, impressed designers and inspired fashion photographers for generations to come. Frank Horvat's work can now be found in permanent collections in prestigious institutions around the world, including The Museum of Modern Art in New York and the Centre Pompidou in Paris. With a foreword by Virginie Chardin, this title in the renowned Photofile series exhibits Horvat's photographic opus through sixty full-page reproductions in a handsome and collectible pocket format.

For five years, Meredith Davenport has photographed and interviewed men who play live-action games based on contemporary conflicts, such as a recreation of the hunt for Osama Bin Laden that took place thousands of miles from the conflict zone on a campground in Northern Virginia. Her images speak about the way that trauma and conflict penetrate a culture sheltered from the horrors of war.
Bringing together a series of two dozen photographs with essays discussing and analyzing the influence of the media, particularly photographs and video, on the culture at large and how conflict is "discussed" in the visual realm, "Theater of War" is a unique look at the influence of contemporary conflict, and their omni-presence in the media on popular culture. Written by an experienced photojournalist who has covered a variety of human rights issues worldwide, this book is an essential addition to the library of anyone interested in the confluence of war and media.

For many hundreds of years Kazakh nomads have been grazing their livestock near the Altai Mountains in western Mongolia. The Altai Kazakhs are unique in their tradition of using golden eagles to hunt on horseback. The lifestyle of these hunters, known in Kazakh as burtkitshis, is changing rapidly, and over the last few years the award-winning photographer Palani Mohan has spent time with these men and their families, documenting a culture under threat. The special bond between a hunter and his eagle begins when the hunter takes an eagle pup from a nest high on the rock face. The pups are usually about four years old (a golden eagle can live to 30 years of age). It's important that the pup has learned to hunt and is not still dependent on her mother; but neither can she be too old nor experienced, or she will not learn to live with humans. The hunters take only female pups from the nest, as females are larger and more powerful and aggressive than the males. Adult female golden eagles can have a wingspan of up to 9 feet, and weigh over 15 pounds. The eagle pup gradually learns to accept food from the hunter, and once trust has been established, the hunter begins to train the bird. The hunters describe the eagle as part of their family. The eagle takes pride of place in the home most of the time except during the day in the summer months or the warmest part of the day in the winter months. While all the men in the family handle the eagle, only the man who took her from the nest hunts with her. Hunting takes place in winter, when temperatures can plummet to minus 40 degrees Farenheit. The birds are carried in swaddling, which the hunters claim keeps them both warm and calm. The strong bond between hunter and eagle is strengthened by the amount of time they spend together. Hunting trips can last many days, as the hunter and eagle trek up to a mountain ridge to obtain a good view across the landscape. Once the prey - usually a fox - is spotted, the hunter charges towards it to flush it into the open, then releases the eagle to make the kill. Hunters traditionally wear fur coats made from the skins of the prey their eagle has caught. The relationship between hunter and eagle typically lasts six to eight years, then the eagle is released back into the wild to breed. One hunter tells Mohan: 'You love them as your own, even when you set them free at the end.' In his book, which comprises an introductory essay and 90 dramatic duotone images, Mohan explains how the burkitshis are slowing dying out. Rather than endure the brutal winters, their children choose to move to the capital, Ulan Bator, for a better way of life. There are also fewer golden eagles in the Altai Mountains. Although the 'Golden Eagle Festival' takes place every October to showcase the ancient art of hunting with eagles, attracting tourists from across the world, there are only between 50 and 60 'true' hunters left. This book is therefore a timely, important record of these proud men and their magnificent eagles in a remote, unforgiving part of the planet.

On Carrie Levy's 16th birthday, her father was sentenced to four years in prison. Levy soon grasped the consequences: people's sidelong glances, and the whispers and stares at her school, which she left early in order to escape her own prison. Then she picked up her camera and started to photograph the empty spaces in her home, on the road, her garden, and outside the prison. The touching images in 51 Months are redolent of loss, of vacant lanscapes that for Levy were filled with painful meaning. Levy's singular story ended when her father came home, four years later, and she tucked her container of 500 photographs under her bed where they remained a hidden visual narrative--until now.

In the mid-1860s Arthur J Munby began to collect the first mass-produced photographic images of working-class women in England, recording fascinating details about the women, the places he purchased the photographs and the raging debates on this new commercial practice of photography, in accompanying diaries. Many of these images - not to mention Munby's fascinating diaries - have never been published before. This book examines this previously un-investigated archive, offering a fresh and arresting perspective on the interrelationships between photographic representations of working-class women, the creation of new identities of class and gender and the evolution of popular conceptions of photography itself.

Fox Talbot is universally recognised as the father of modern photography. His 'calotype' or 'Talbotype' process was the first working photographic process to use the now familiar format of negatives and positives. He was an ambitious man but his interests spread far beyond the confines of photography and it was as a mathematician that he was awarded first Membership and then Fellowship of the Royal Society before the age of thirty-three. He was an accomplished astronomer, a keen archaeologists and a fluent master of Greek and Hebrew. He patented pioneering ideas for internal combustion engines and as early as 1840 and through his life was at the forefront of progressive scientific thinking in England.

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"

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.

Join physician and landscape photographer Mohan Bhasker on a round-the-world journey to some of Earth's most exquisite sites. Vicariously traverse a Laos jungle, kayak among Antarctica's icebergs, trek through Nepal's Himalayan mountain range and Brazil's scorching sand dunes, and come upon impossibly blue lagoons tucked into the rugged Argentine terrain. Interspersed with the images are adventure travel stories about close calls with nature, opportunities missed, serendipitous timing, and the payoff of persistence. The camera lens lingers on everything from pristine panoramas to quiet coves and closeups of penguin chicks. In a fifteen-year collection of more than 220 photographs, the author pays tribute to the beauty, history, and significance of some of the most remote places on Earth.

Swim out into the Pacific and look back to the shore. To the couple kissing in the hot afternoon, and the young girl rollerskating along the front, and the family setting up camp on the soft, warm sand. To the blues and yellows and pinks of fierce, determined revelry. Santa Monica, where the wooden pier juts out into the Pacific Ocean, marks the end of Route 66. The great American journey west culminates here, and it is on this short stretch of coast that Sarah Lee began shooting her photographic series in 2015. In West of West Sarah Lee and Laura Barton explore the idea of the West in shaping American identity, with its idealism and notions of the frontier, and what the American West means in an age of political turbulence, when the East is the rising global force and the frontier is shifting once more.

Born in Antwerp in 1941, Harry Gruyaert was one of the first European photographers to explore the creative potential of colour in the 1970s and 1980s. This book brings together his best work, including images from his renowned 1972 series TV Shots and the later Made in Belgium, in one beautifully produced volume. Influenced by such American photographers as Saul Leiter, Joel Meyerowitz, Stephen Shore and William Eggleston, as well as by cinema, Gruyaert's work defined new territory for colour photography: an emotive, non-narrative and boldly graphic way of perceiving the world. His photographs are autonomous and self-sufficient, often independent from any context or thematic logic. A member of Magnum Photos since 1982, he has embraced the possibilities of digital photography in his most recent work, feeling that it allows him to take more risks and capture new kinds of light.

Continuing the tradition of creating the next level of breathtaking pin-up girls in the modern world, internationally acclaimed photographer and pin-up artist Celeste Giuliano presents her classic style of pin-ups in stunning 3-D for the first time ever. The pin-up girl has been a staple of classic American culture since the 1920s. Featured on advertisements and novelty items, their coy smiles and flirtatious ways captivated millions while selling everything from colas to cars. During the 1950s, a whole new dimension of tease gained popularity once these timeless beauties were presented in 3-D. This book features all new images of the classic girl next door that tease both on and off the pages in breathtaking realism.

Jenny Sampson’s follow-up to her acclaimed collection of tintype skateboarder portraits (Skaters, Daylight 2017) focuses on female skateboarders. Although historically a male-dominated sport, there have always been girls in the skate- boarding landscape. By turning her lens on these members of the community all over California, Washington and Oregon, Sampson hopes to increase visibility and honor these girls, young and older, who have been breaking down this gender wall with their skater girl power.

`Here Comes Everybody' is a phrase that echoes repeatedly through the shifting dream-narrative of James Joyce's FinnegansWake. It aptly captures the intense poetry of this new collection of photographs by Chris Killip, taken over repeated trips to Ireland between 1993 and 2005. On each visit Killip attended the annual pilgrimages at Croagh Patrick and Mamean in the west of Ireland, places of wild beauty and ancient spirituality. His poignant photographs convey the dedication and community of the modern pilgrims' journey as they make their way across shingled mountainsides to take part in age-old rites. Images of the pilgrims' trek are complemented by landscapes, townscapes and details photographed in the west of Ireland and beyond. Presented as a facsimile of an album of prints from a decade of travels, this book includes the first colour photographs Killip has ever published. This Limited edition features hand-tipped reproductions and a signed and numbered print.