The Congo Basin in Central Africa harbors approximately one quarter of the world's rainforest. In the heart of this forest is Odzala-Kokoua National Park, an ecological wonderland that is home to untold numbers of rare gorillas, forest elephants, and birds. It is also home to people who have lives vastly different from much of the rest of the world. In this stunning photographic series, Pieter Henket presents images of the children of Odzala- Kokoua telling the oral history of the Congo in enchanting and creative ways. Shot over the course of a month, Henket documented the children of this remote region as they designed, planned, created costumes for, and acted out a series of myths- about their tribes, their landscape, and the animals and plants that they live among. Their stories will educate others unfamiliar with a way of life that is so completely in harmony with nature. Filled with vibrant images that highlight the area's magnificent flora and fauna, this photographic project, which was three years in the planning and execution, offers an exciting opportunity to learn about nature and the environment and it delivers an optimistic message about trust, cooperation, and conservation for the next generation of policy makers.

Tein Lucasson loves ALL dogs. For this reason, the graphic designer, art director and producer uses photos of dogs sent to him by his fans and friends to create high-quality artistic images that look like paintings of old masters: from the Labrador in an aristocratic coat with a ruff to the promenade mix in a sailor's uniform. Each dog has its own unmistakable character, which Tein brings closer to its readers in witty, bizarre and thoughtful texts. After the success of Portraits of Eighty-Eight Cats and One Very Wise Zebra, Tein now presents his second illustrated book for teNeues: Lovingly designed, this book is a must for every dog lover's shelf. The perfect gift for all lovers of our four-legged companions. Text in English, German, French and Italian.

"A lucid, smart, engaging, and accessible introduction to the impact of lynching photography on the history of race and violence in America. "--Grace Elizabeth Hale, author of "Making Whiteness: The Culture of Segregation in America, 1890-1940"
"With admirable courage, Dora Apel and Shawn Michelle Smith examine lynching photographs that are horrifying, shameful, and elusive; with admirable sensitivity they help us delve into the meaning and legacy of these difficult images. They show us how the images change when viewed from different perspectives, they reveal how the photographs have continued to affect popular culture and political debates, and they delineate how the pictures produce a dialectic of shame and atonement."--Ashraf H. A. Rushdy, author of "Neo-Slave Narratives and Remembering Generations"
"This thoughtful and engaging book offers a highly accessible yet theoretically sophisticated discussion of a painful, complicated, and unavoidable subject. Apel and Smith, employing complementary (and sometimes overlapping) methodological approaches to reading these images, impress upon us how inextricable photography and lynching are, and how we cannot comprehend lynching without making sense of its photographic representations."--Leigh Raiford, co-editor of "The Civil Rights Movement in American Memory"
"Our newspapers have recently been filled with photographs of mutilated, tortured bodies from both war fronts and domestic arenas. How do we understand such photographs? Why do people take them? Why do we look at them? The two essays by Apel and Smith address photographs of lynching, but their analysis can be applied to a broader spectrum of images presenting ritual orspectacle killings."--Frances Pohl, author of "Framing America: A Social History of American Art"

One of the most intriguing mysteries about the rise of history s most despised dictator is just how utterly ordinary he once seemed. A chubby child, a mummy s boy, a failed artist, a face in the crowd the early images of Adolf Hitler give no hint of the demonic spirit that consumed him. Only later in his tortured life came the metamorphosis, and the mask fell away to reveal the manic monster lurking beneath. The aim of this book is to trace this dramatic process in photographs some iconic, some rare and intimate covering the life of a man whose destructive legacy still touches us today. The images, many from the author s own historic collection, demonstrate the mesmerising power that Hitler wielded not only over the German public but also statesmen, industrialists and global media. For the captions to many of the original photographs are reverential in their descriptions of Herr Hitler the German Chancellor , the person Time magazine chose as its 1938 Man of the Year . The fascination with the cataclysmic events he caused involving 61 countries, three-quarters of the world s population and more than 50 million dead remains as strong as ever today. The mystery of how one man could exert so much power that he was able to plunge the whole world into war remains unanswered. But the subtly changing images of Adolf Hitler, portrayed in this book from pampered baby to bar-room rabble-rouser to ranting megalomaniac, provide a graphic insight into the mind of a monster and the instigator of history s bloodiest conflict.

In ancient times, older women were the keepers of primal mysteries and were revered for their special wisdom. For this very special book, Joyce Tenneson traveled throughout America to photograph and interview women ages 65 to l00. What she found was a revelation—women who were vital, energetic, and deeply beautiful, inside and out. The 80 portraits are of women from all walks of life from the famous, such as Sandra Day O'Connor, Julie Harris, and Angela Lansbury, to the ordinary, such as our mothers and grandmothers. Tenneson's compelling and compassionate portraits, accompanied by short poignant statements from these remarkable women about the experience of aging, will help to reawaken us to the power and wisdom of our elders.

From April to August 1961, recent Harvard graduate Michael Clark Rockefeller was sound recordist and still photographer on a remarkable multidisciplinary expedition to the Dani people of highland New Guinea. In five short months he produced a wonderful body of work, including over 4,000 black-and-white negatives.

In this catalogue, photographer Kevin Bubriski explores Rockefeller's journey into the culture and community of the Dani and into rapport with the people whose lives he chronicled. The book reveals not only the young photographer's growing fluency in the language of the camera, but also the development of his personal way of seeing the Dani world around him. Although Rockefeller's life was cut tragically short on an expedition to the Asmat in the fall of 1961, his photographs are as vivid today as they were the moment they were made.

Featuring over 75 photographs, this beautiful volume is the first publication of a substantial body of Michael Rockefeller's visual legacy. Rockefeller's extraordinary photographs reveal both the resilient spirit of the Dani people and the anthropological and aesthetic eye of a young man full of promise. In a Foreword, Robert Gardner provides a personal recollection of Michael Rockefeller's experience in the New Guinea highlands.

Real Pictures is the result of many decades of photographs recording the day- to- day workings of a large family. As Chris Wiley of the New Yorker says “there is a tenderness and a sensitivity in these pictures of family that cannot be faked. Nolan is not embedded with her subjects, she is entwined. As such, the pictures not only show that she has an eye, but also a heart.�

Back in the late fifties and into the sixties Manchester was a happening centre of popular music, rivalling Liverpool and London. Local lad Brian Smith saw it happen. In the mid-1950s Brian was introduced to skiffle, early rock and roll and the blues boom. A keen amateur photographer, Brian soon became known to door staff as 'the fan with the camera' and along with his friends went backstage to meet musicians, chat, and take photographs. Brian took a keen interest in the emerging blues scene after seeing Muddy Waters in 1958 and over the next decade Brian saw and photographed most of the big American blues musicians who played in Manchester. There is an acknowledged irony that black blues artists began to enjoy a cult following in Britain and Europe while they were still largely unknown or acknowledged back home. Brian began frequenting venues such as the famous Twisted Wheel Club and after the start of Roger Eagle's legendary r'n'b allnighters there in 1963 (which later led to the birth of Northern Soul), the ground-breaking music magazine R & B Scene was launched. Brian became their main photographic contributor until the magazine folded. Brian produced images with a real presence and quality, and managed to capture a unique and relatively short lived scene in fascinating detail. Not only on-stage, but back in the dressing rooms, he photographed these giants of the blues relaxing with a beer and a pack of cards, or posing for souvenir pictures with British fans, male and female. A remarkable cultural melting pot considering that many of the musicians themselves could not even travel next to whites in some States back home at that time. Most of Brian's photographs were forgotten until recently when they began to be sought out by CD compilers. Yet until now nobody has published a full collection of his work. Easy On The Eye have had unique access to Brian's extensive archives, working directly from surviving negatives and prints which have been newly scanned for the book. The photographs are annotated and fully captioned. ARTISTS INCLUDE: Johnny Guitar Watson, Big Joe Turner, Chuck Berry, Screaming Jay Hawkins, Little Richard, Bo Diddley, Jimmy Reed, Hubert Sumlin, Howlin Wolf, Buddy Guy, John Lee Hooker, The Rolling Stones, Carl Perkins and many more.

For over a decade, Magnus Hastings has been photographing the world's greatest drag superstars and asking each of them a simple question: Why drag? The result is this mesmerising volume in which the queens strut their stuff and reflect on their shared passion through a mixture of quips and philosophising. Subjects include icons of reality TV and underground drag royalty, and photographs range from the divine to the trashy. Featuring the likes of Bianca Del Rio and Courtney Act, this collection is a beautiful celebration of drag as an art form and an exhilarating exploration of what drag means to its greatest artists.

An indigenous reservation in the colony of Victoria, Australia, the Coranderrk Aboriginal Station was a major site of cross-cultural contact the mid-nineteenth century and early twentieth. Coranderrk was located just outside Melbourne, and from its opening in the 1860s the colonial government commissioned many photographs of its Aboriginal residents. The photographs taken at Coranderrk Station circulated across the western world; they were mounted in exhibition displays and classified among other ethnographic "data" within museum collections. The immense Coranderrk photographic archive is the subject of this detailed, richly illustrated examination of the role of visual imagery in the colonial project. Offering close readings of the photographs in the context of Australian history and nineteenth- and early-twentieth-century photographic practice, Jane Lydon reveals how western society came to understand Aboriginal people through these images. At the same time, she demonstrates that the photos were not solely a tool of colonial exploitation. The residents of Coranderrk had a sophisticated understanding of how they were portrayed, and they became adept at manipulating their representations.Lydon shows how the photographic portrayals of the Aboriginal residents of Coranderrk changed over time, reflecting various ideas of the colonial mission-from humanitarianism to control to assimilation. In the early twentieth century, the images were used on stereotypical postcards circulated among the white population, showing what appeared to be compliant, transformed Aboriginal subjects. The station closed in 1924 and disappeared from public view until it was rediscovered by scholars years later. Aboriginal Australians purchased the station in 1998, and, as Lydon describes, today they are using the Coranderrk photographic archive in new ways, to identify family members and tell stories of their own.

If you get hold on texts, articles and interview featuring Ryan Gander, one word will pop-up in particular - storyteller. Through his work he always tries to narrate in form of objects or actions particular feelings or actions, pose questions and maybe sometimes give loose answers. His initial projects involved public lectures and performances, but lately it has evolved into creating articulated stories and emotions through the use of sculpture, real estate projects, architecture or (sometimes) technically complex installations. If you have seen his work for the latest dOCUMENTA in Kassel, Airflow-velocity Study for I Need Some Meaning I Can Memorise (the Invisible Pull), you are surely aware of the complexity of the questions his projects pose to the user, questioning the notions of language and knowledge, a reinvention of the modes of the appearance and creation of the artwork.

A powerful combination: this album contains dramatic black-and-white nude photographs and portraits of men, women and couples along with poems which not only celebrate love, lust and longing, but also successfully demonstrate the other side of the coin: disappointment, escape and loneliness. Lyricism combines with strong visual images in a symbiotic way. A book that spells out how erotic love can be.

Phillip Toledano believes that we are at the vanguard of a period of human-induced evolution. A turning point in history where we are beginning to define not only our own concept of beauty, but of physicality itself. * Beauty has always been a currency, and now that we finally have the technological means to mint our own, what choices do we make? * Is beauty informed by contemporary culture? By history? Or is it defined by the surgeon's hand? * When we re-make ourselves, are we revealing our true character, or are we stripping away our very identity?

Discover one hundred of the greatest folk artists practicing in the United States in Folk Masters: A Portrait of America. Over the past 25 years, photographer Tom Pich has traveled the country to the homes and studios of recipients of the National Endowment for the Arts' National Heritage Fellowship, the highest honor given to folk and traditional artists in the US. His portraits give us a glimpse into their art, their process, and their culture. While each image tells a story on its own, Barry Bergey, former Director of Folk and Traditional Arts at the National Endowment for the Arts, provides further insight into the lives of each featured artist as well as the remarkable stories behind each photograph. Folk Masters honors again the extraordinary women and men who simultaneously take the traditional arts to new heights while ensuring their continuation from generation to generation.

In this unique and startling collection of photographic diptychs, we see average New Yorkers first clothed, then completely naked. Only their ages and professions are given as captions.

Here we see all types of people, men and women of all shapes, ages, colors, and classes: investment banker, junkie, bookseller, closet queen, unemployed pregnant woman, actor, cashier, Harvard grad student, retired salesman, nanny, and security guard, among them. As diverse and unique as these individuals are, one can't help but be struck by the realization that the banker and the junkie are not all that different after all. On a basic level, we're all the same, human and vulnerable.

Unlike traditional nude photography, these lack any overtly erotic or sexual quality; they are simply real people who reveal both their public (clothed) selves and their private (naked) selves. Friedler's approach is akin to the anthropologist. His work as a documentary photographer is an investigation into humanity, a survey and study of people. If clothing is a voluntary choice, unclothed we see people in an involuntary state—we see their bodies as we see their faces, unmasked. At once deeply intimate and surprisingly matter of fact, these images reveal more of our commonality than our differences.

In this ambitious global project, two hundred women share inspiring stories of success and courage, love and pain, redemption, and generosity. This updated, abridged edition includes powerful new interviews and stirring quotes alongside selections from the original book, all answering the same five questions. Presented in an accessible, chunky paperback brimming with stunning photographs and empowering stories, this new edition is an illuminating read for the modern woman and a lovely gift for mothers, sisters, daughters, and friends. * Equality is explored through diverse interviews with women from around the world * Brave insightful interviews with women -- famous as well as unknown, rich and poor, black and white, leaders, victims, survivors and heroes * Women featured include Ruth Bader Ginsburg, Angela Davis, Alice Waters, Amber Heard, and Isabel Allende Fans of In the Company of Women, The Atlas of Beauty, and Bad Girls Throughout History will love this book. This book is perfect for: * Fine art photography buffs * Portraits book fans * Community organizers

Born in New York in 1909, Milton Rogovin has been photographing coal miners since 1962, working first in Appalachia and later, in the 1980s, in Europe, Asia, South Africa, China, Mexico, and Cuba. Particularly in these later portraits he concentrated on the lives of miners as revealed at work and at home. Men and women portrayed at a mine entrance or in a changing room, covered in coal dust, are barely recognizable in the accompanying photographs, where they proudly stand in their living rooms or backyards, holding a pet or posing with their families, surrounded by their cherished belongings.
Milton Rogovin: The Mining Photographs presents more than one hundred of these direct and powerful images, usually in pairings that reveal Rogovin's unsentimental regard for men and women whose dangerous work is shown to be only one part of their complex lives. With an introductory essay by Judith Keller, associate curator of photographs at the Getty Museum; a chronology of Rogovin's life and career and a selected bibliography are provided by Melanie Herzog.

Last season we published Horn's Dictionary of Water, a universal lexicon, now we offer This is Me, This is You, Horn's handbook of identity. Here in this uniquely bound twinned volume we have a book with no end. Peruse the 48 images taken with a 'point and shoot' camera, and as you arrive at the last image, you turn the book over and begin again: now with a paired complement for each of the 48 images, taken only a few seconds later. This work, a single and singular portrait photographed over a two year period evokes a multitude - of identities, of images, of icons from Bette Davis to Marlon Brando. Ultimately it is the multitude in each of us. Along with other recent installations, This is Me, This is You was premiered last fall at DIA's Center for the Arts in New York City.

Commemorating the bicentennial of Frederick Douglass's birthday and featuring images discovered since its original publication in 2015, this "tour de force" (Library Journal, starred review) reintroduced Frederick Douglass to a twenty-first-century audience. From these pages-which include over 160 photographs of Douglass, as well as his previously unpublished writings and speeches on visual aesthetics-we learn that neither Custer nor Twain, nor even Abraham Lincoln, was the most photographed American of the nineteenth century. Indeed, it was Frederick Douglass, the ex-slave-turned-abolitionist, eloquent orator, and seminal writer, who is canonized here as a leading pioneer in photography and a prescient theorist who believed in the explosive social power of what was then just an emerging art form. Featuring: Contributions from Henry Louis Gates, Jr., and Kenneth B. Morris, Jr. (a direct Douglass descendent) 160 separate photographs of Douglass-many of which have never been publicly seen and were long lost to history A collection of contemporaneous artwork that shows how powerful Douglass's photographic legacy remains today, over a century after his death All Douglass's previously unpublished writings and speeches on visual aesthetics

Prepare to enter a fantasy world. A world where clothes get folded just so, delicious dinners await, and flatulence is just not that funny. Give the fairer sex what they really wantbeautiful PG photos of hunky men cooking, listening, asking for directions, accompanied by steamy captions: "I love a clean house!" or "As long as I have two legs to walk on, you'll never take out the trash." Now this is porn that will leave women begging for more!

Dreams, fears, projects, desires. Turning 18, with your future in front of you: it's a special time, which the talented photographer, Anne-Catherine Chevalier, has tried to capture. Her sensitive lens is matched by the delicate writing of Genevieve Damas: the result is a selection of 50 exceptional portraits. Text in English, French and Dutch.