Illuminating the photographer's contributions to New York's Downtown art scene and her acute feminist work Photographer Marcia Resnick (b. 1950) earned recognition as part of the legendary Downtown New York art scene of the 1970s and 1980s. Her portraits of the era's major cultural figures, such as Jean-Michel Basquiat, John Belushi, and Susan Sontag, have contributed to the scene's mythic status. Against this backdrop, Resnick also produced a significant body of work that engaged with the history of art, took a humorous approach to conceptual art and feminism, and proposed new ideas for what photography could be. Spanning the artist's career, this richly illustrated volume explores Resnick's early influences and education at Cooper Union and CalArts; discusses her series and photobooks such as See and Re-visions; and situates the artist's work within the history of contemporary art. An afterword by Laurie Anderson speaks to the very personal vision of Resnick's photography. Published in association with the Bowdoin College Museum of Art, George Eastman Museum, and Minneapolis Institute of Art Exhibition Schedule: Bowdoin College Museum of Art, Brunswick, ME (February 24-June 5, 2022) Minneapolis Institute of Art (August 13-December 11, 2022) George Eastman Museum, Rochester, NY (February 10-June 18, 2023)

Launching his curatorial career at the George Eastman House in 1957, Nathan Lyons (1930-2016) soon made a mark in the museum world and in his workshops for photographers and curators alike. Yet his supporting role in the careers of rising stars such as Lee Friedlander and Garry Winogrand sometimes eclipsed the public's awareness of Lyons's own pioneering photography. Coinciding with a major exhibition at the George Eastman Museum in 2019, Nathan Lyons: In Pursuit of Magic is a long-overdue celebration of Lyons's astonishing body of work. Featuring more than two hundred and fifty compelling images, accompanied by critical essays, the book charts the distinct phases of Lyons's career. His early work, exemplified by his exuberant initiatives of the 1960s-the Visual Studies Workshop and the Society for Photographic Education-demonstrated that street photography and formalism are not mutually exclusive, as university photography courses began migrating from journalism to art departments. His final years, which included a shift to color at age eighty, are also explored in depth. A companion to Nathan Lyons: Selected Essays, Lectures, and Interviews, this is the definitive visual sourcebook on a highly influential innovator.

Today color photography is so ubiquitous that it's hard to believe there was a time when this was not the case. Color Rush: Seventy-five Years of Color Photography in America explores the developments that led us to this point, looking at the way color photographs circulated and appeared at the time of their making. From magazine pages to gallery walls, from advertisements to photojournalism, Color Rush charts the history of color photography in the United States from the moment it became available as a mass medium to the moment when it no longer seemed an unusual choice for artists. The book begins with the 1907 unveiling of autochrome, the first commercially available color process, and continues up through the 1981 landmark survey show and book, The New Color Photography, which hailed the widespread acceptance of color photography in contemporary art. In the intervening years, color photography captured the popular imagination through its visibility in magazines like Life and Vogue, as well as through its accessibility in the marketplace thanks to companies like Kodak. Often in photo histories color is presented as having arrived fully formed in the 1970s; this book reveals a deeper story and uncovers connections in both artistic and commercial practices. A comprehensive chronology and examples of significant moments and movements mark the increasing visibility of color photography. Color Rush brings together Ansel Adams and William Eggleston, Eliot Porter and Cindy Sherman, Edward Steichen and Stephen Shore, and examines them in a fresh context paying particular attention to color photography's translation onto the printed page. In doing so, it traces a new history that more fully accounts for color's pervasive presence today.