Since the 1970s, Andy Summers has been one of the great guitarists of his generation as the guitarist of The Police and achieved worldwide fame alongside singer Sting, but also later as a solo artist. But Andy has also been making a name for himself internationally as an art photographer since the 1980s. Several successful book publications and various international exhibitions followed, underlining his exceptional talent in the field of photography as well. In A Series of Glances, Andy now assembles for the first time his best art photographs from several decades in a large, lavishly designed and decorated coffee-table book. These are images full of poetry and mood, mostly in black and white, with which Andy takes us into his world: on his extensive travels through the cultures of different countries and continents, to his portrait and nude photography, whose focus is always on the artistic moment. How exactly can the mood of a moment be captured in a picture? Andy succeeds in combining his music and his photographic art in a unique way. Not only are his images present at all times at his concerts, but various AR elements in the book give the reader an even deeper insight into Andy's life and work online. A Series of Glances becomes perhaps Andy Summer's most personal work ever.

As the General Motors plant in Lordstown, Ohio halted production and faced possible closure, displacing its workers, artist LaToya Ruby Frazier joined with these workers, their families, and their local union leaders to tell the story of the plant in its final days. After more than fifty years of automobile production and a commitment to manufacture the Chevrolet Cruze until 2021, the facility was recently “unallocated� by GM, as the company shifts its focus toward overseas manufacturing and the production of electric and autonomous vehicles. For many, this meant uprooting their families and giving up the support of a close-knit community. Those who turned down transfers to GM plants in other states lost their income, pensions, and benefits. The Last Cruze, which sets out to amplify the voices of the auto workers in Lordstown, introduces a new chapter to Frazier’s work in investigating labor, family, community, and the working class. Exhibited at the Renaissance Society in 2019, this body of work includes over sixty photographs, alongside the written stories of the workers, and was staged within an installation that echoes the structure of the plant’s assembly line. This substantial catalogue includes extensive documentation of the work and introduces new essays and dialogues by contributors including Coco Fusco, David Harvey, Werner Lange, Lynn Nottage, Julia Reichert, Benjamin Young, and members of the local chapter of the United Auto Workers.  

These 87 black & white photographs taken by Alen MacWeeney in Dublin in 1963/5 are spontaneous images of Dublin and Dubliners in all areas of the city, a street odyssey reflecting a cross section of the people, their habits and behaviour, ten years before Ireland joined the European Union and the wider world. The text on facing pages is composed of social commentary gleaned from a posting of each of the book's photographs on Dublin social media platform Down Memory Lane, eliciting a flood of 70,000 responses during 2020. These photographs of Dublin and Dubliners in 1963 have pertinent social and historical value as attested by their placement in numerous US Universities and museums. The text offers a novel way of understanding and appreciating a full gamut of Dublin personalities through their reactions to the posting of these photographs during the current pandemic. The responses ranged from wonder and incredulity to heated derision, offset by the hilarity that characterize Dubliners. The richness of the commentary will be of interest to any Irish person curious to glimpse Dublin life in the '60s and to gauge the reactions of Dubliners today. MacSweeney's work partakes of the tradition of reportage by Walker Evans, Cartier Bresson, Robert Frank and Richard Avendon, to whom he was apprenticed in Paris during the late fifties.

From the time The Big Penis Book was published, readers anticipated The Big Book of Pussy. Granted, perhaps not the same readers, but the seed had been planted and the calls and letters began flowing in. Once they had that long-awaited book, some found themselves overwhelmed by the variety and abundance, as well as the sheer size of the book. As one reviewer wrote, "let's give credit to Amazon for...the strength of its packaging. Who wants a 2-ton pussy book being 'exposed' for the mailman...?" For those who worry that there can be too much of a good thing, we've made a pared down, "best of" edition of The Big Book of Pussy, a petite little kitten of a book that puts those in-your-face photos in proper perspective. Now you can follow the evolution of genital exposure with ease, through 100 years of photos with one thing in common: the exhibitionistic pleasure with which the models present their feminine pulchritude. And with over 150 photos-36 new to this book-of the pet we love to pet, no bothersome text to interrupt the flow, all in a package that won't stress the mailman's back, we just may have produced the perfect self-gifter of the year.