Art Books

The first monograph on the architectural sculptor and installation artist and long-time collaborator with the New York School poets

Best known for creating large-scale installation work inspired by American vernacular architecture, Dennis finds beauty in places shaped by ordinary people, which become repositories for memory and feelings. Her seemingly familiar yet often darkly mysterious sites evoke memories, encourage reflection, and allude to the transient nature of life. This book contextualizes Dennis’s work within contemporary art and the women’s movements and traces the arc of her career, tracing the evolution of her architectural sculpture over more than forty years, exploring her artistic collaborations with poets, and presenting her most recent work, a series of gouaches and dioramas, for the first time.

A conversation between Dennis and painter Rackstraw Downes brings to life the artist’s influences through her own words. With insightful text by feminist art scholar Helaine Posner, plus commentary from Dennis on the sources and process of creating the work, this book is an essential addition to the libraries of collectors and art historians interested in the architectural sculpture movement of the 1970s, and all those interested in feminism in art.

• Format: Hardback
• Size: 289 × 213 mm (11.5 × 9.5 in)
• Pages: 224 pp
• Illustrations: 250 illustrations

A revelatory introduction to the spiritualist abstractions of the Swedish painter and lifelong friend of Hilma af Klint

Until now, the Swedish painter Anna Cassel (1860-1937) had mostly been famed for her paintings of landscapes and urban environments, with motifs from the Swedish rural counties Jämtland and Västmanland, and from Stockholm. She is less known for her deep involvement with spiritualist groups, the circle of Hilma af Klint and the occult art group known as The Five. Only now, nearly a century after her death, is Cassel's significant, mesmerizing and original contribution to abstract and spiritual art garnering attention, not least thanks to her lifelong friendship and collaboration with Af Klint. The two women met while studying at Slöjdskolan in Stockholm and later were part of the group The Five in 1896, along with Sigrid Hedman, Mathilda Nilsson and Cornelia Cederberg. The Five began as a regular spiritualist group but soon experimented with seances, developing the automatism technique used decades later by the Surrealists. Cassel, hailing from a wealthy family, also financially supported Af Klint throughout much of her career.
In this beautifully produced volume, the life and work of Anna Cassels is presented for the first time to a wider audience, revealing her as a creator of gorgeous, radiant abstractions and spiritual diagrams. Cassel is introduced to a wider audience in two essays that make clear that the collaboration between her and Af Klint was much deeper than previously known. This is also the first time that Cassel's spiritual work The Tale of the Rose has been published.

The first and only monograph to give a comprehensive examination of acclaimed American artist Sarah Sze's painting practice

Since the late 1990s, Sarah Sze has developed a signature visual language that challenges the static nature of art with a dynamic body of work spanning sculpture, painting, drawing, printmaking, video and installation.

In recent years, Sze has returned to painting, the medium in which she was first trained. Comprising constellations of painted and collaged elements, her expansive abstract landscapes explore a visual world that is constantly evolving, degrading, and generating new ways of seeing. Her paintings are highly sought-after and are held in the permanent collections of prominent institutions and museums worldwide.

The book includes two essays by Mark Godfrey and Tina Pang that explore Sze's influences and her working process, plus an interview between the artist and Madeleine Grynsztejn, that expands on the theoretical underpinnings of her painting practice.

With each copy numbered and hand signed by the artist, this exquisitely illustrated luxury volume, packaged in a cloth-wrapped slipcase, was created in close collaboration with Sze, and is the first monograph devoted to her painting practice.

Specifications:

• Format: Hardback
• Size: 308 × 292 mm (12 1/8 × 11 1/2 in)
• Pages: 396 pp
• Illustrations: 300 illustrations
• ISBN: 9781838665623

Incorporating both formal details and welcoming elements, a sophisticated and balanced look tailored to a sense of home, as shown through the portfolio of Foley & Cox

Foley & Cox is a New York-based interior design firm renowned for serene spaces subtly layered with color and texture that create a sense of welcome and comfort. Taking creative cues directly from their clients–their perceptions, preferences, and passions–the firm creates serene interiors infused with personal style.

This elegant book presents 24 homes, ranging from elegant prewar apartments in Manhattan to retreats in the Hamptons and summer places along the coast of New England and in Europe, and even to a private jet and a yacht that cruises the Mediterranean. What unites these spaces is an overall balance and elegance, infused with luxurious fabrics in subtle tonal variations and a judicious use of highlight color, often in the artwork and accessories. Founder Michael Cox is a master at creating settings for art collections and selecting distinctive vintage pieces that add a sophisticated touch to the rooms.

Specifications:

• Format: Hardback
• Size: 304 × 241 mm (12 × 9.5 in)
• Pages: 248 pp
• Illustrations: 220 illustrations
• ISBN: 9781580936163

A vase is never merely a container. As Georges Braque once said, "the vase gives form to emptiness": ever since the earliest human civilizations, this object has had a purpose that is greater than its function and it perennially invites experimentation in shape and expression.
The 1,000 vases presented in this book offer an eloquent demonstration of this fact. They come from 35 different countries and more than 80% of them have been made by women or independent designers and artists born between 1988 and 1993—each of whom was invited to create a free interpretation of the same archetype, resulting in a spectrum of the infinite creativity inspired by the many possible versions of a single item. Made from an enormous range of materials (ceramic, terracotta, porcelain, metal, wood and glass, as well as natural fibers, industrial waste and recycled plastic), using techniques both ancient and ultramodern (3D printing) and belonging to different categories (from amphora to jar, jug to carafe), almost all sit on the borderline that simultaneously unites and separates art, design and craftsmanship.
Designers include: Yuta Segawa, Zhu Ohmu, Yonobi Studio, Angelika Kogevina, Anbar El Mokri, Andrea Maestri, Angelina Guez, Anna Jukova, Ariaana de Luca, Carey Lowell, Coco Brun, E Jockel, Gabriela Flores and many more.

William Eggleston’s standing as one of the masters of color photography is widely acknowledged. But the gradual steps by which he transformed from an unknown into a leading artist are less well known. Steidl has undertaken to trace these steps in an ambitious series of publications. Before Color (2010) explored Eggleston’s revelatory early black-and-white images, while Chromes is an edit of more than 5,000 Kodachromes and Ektachromes taken from 10 chronologically ordered binders found in a safe in the Eggleston Artistc Trust. This archive had once been used by John Szarkowski, who selected the 48 images printed in Eggleston’s seminal book William Eggleston’s Guide, while the rest of the archive has remained almost entirely unpublished. Featuring a newly designed slipcase, this three-volume publication presents Eggleston’s early Memphis imagery, his testing of color and compositional strategies, and the development toward the “poetic snapshot.” In short, Chromes shows a master in the making.

From July 12th 2019 to January 5th 2020, the Fondation Cartier presented Trees, an ambitious exhibition devoted to trees, these exceptional living beings with unexpected faculties and yet widely threatened today. Underestimated by biologists for a long time—like the entirety of the plant kingdom—in recent years they have been the subject of scientific discoveries that have allowed us to see these organisms in a new light. Interestingly, some of these are among the oldest and largest members of this community of living things. Boasting sensory and motor skills, capable of communication, existing in symbiosis with other species and the climate, trees are equipped with unexpected faculties whose discovery confirms what traditional knowledge has long since incorporated. The veil has been lifted on a fascinating world—the world of plant intelligence—which could be the answer to many of today’s technological and environmental problems.
Trees allows readers to discover all of the works presented in the exhibition through almost 500 images, as well as a rich ensemble of scientific and critical texts. Combining the work of painters, photographers, architects, sculptors, philosophers, botanists and climatology specialists, this publication highlights the beauty, ingenuity and biological wealth of trees.
Contributors include: Emanuele Coccia, Cesare Leonardi, Bruce Albert, Luiz Zerbini, Raymond Depardon, Jean Nouvel, Tony Oursler, Adriana Varejao, Lothar Baumgarten and Diller Scofidio + Renfro.

Artists have long been inspired by children—by their imagination, creativity and unique ways of seeing and being in the world—and have made work that depicts and involves children as collaborators, that represents or mimics their ways of drawing or telling stories, that highlights their unique cultures, and that addresses ideas of innocence and spontaneity closely associated with children. To Begin Again: Artists and Childhood surveys how artists have reflected on and contributed to notions of childhood from the early 20th century to the present. The works in To Begin Again offer distinctive viewpoints and experiences, revealing how time and place, economics and race, and representation and aesthetics fundamentally shape how we experience and understand early development. The catalog underscores that while there is no single, uniform idea of childhood, it is nevertheless the ground upon which so much of society is built, negotiated and imagined.
Artists include: Ann Agee, John Ahearn, Njideka Akunyili Crosby, Francis Alÿs, Jean-Michel Basquiat, Brian Belott, Jordan Casteel, Lenka Clayton, Allan Rohan Crite, Henry Darger, Karon Davis, Robert Gober, Jay Lynn Gomez, Trenton Doyle Hancock, Duane Hanson, Mona Hatoum, Sharon Hayes, Ekua Holmes, Mary Kelly, Paul Klee, Justine Kurland, Helen Levitt, Tau Lewis, Glenn Ligon, Oscar Murillo, Rivane Neuenschwander, Berenice Olmedo, Charles Ray, Faith Ringgold, Deborah Roberts, Tim Rollins and K.O.S., Rachel Rose, Heji Shin, Sable Elyse Smith, Becky Suss, Mierle Laderman Ukeles, Cathy Wilkes and Carmen Winant.

This 350+ page flexibound book is a revelatory guide to hundreds and hundreds of original seven-inch record cover sleeve designs—visual artifacts found at the heart of the most radical and anarchistic musical movement of the 20th century. The revolutionary do-it-yourself ethic of punk was applied to the aesthetic of design as much as it was to music, and record sleeves acted as lo-fi signifiers of anarchy, style, fashion, politics and more with an urban and suburban invective courtesy of the thousands of new bands—punk, post-punk, pre-punk, nearly punk and more—that emerged at the end of the 1970s.
This book is an exhaustive, thorough and exciting celebration of the stunning artwork of punk music—everything from the most celebrated and iconic designs through to the stark beauty of the cheapest do-it-yourself lo-fi obscurities.
Punk 45! is introduced and coedited by Jon Savage, author of the acclaimed definitive history of punk, England’s Dreaming, and features a new introduction by Bobby Gillespie of Primal Scream. Contributors include Peter Saville, Richard Hell, Richard H Kirk, Seymour Stein, Geoff Travis, Martin Moscrop, Glenn Branca, Jamie Reid, Dave Robinson, Roger Armstrong, Martin Mills, Gee Vaucher, Savage Pencil, Dennis Morris and more.

Niki de Saint Phalle’s sensual Nanas—colorful, buxom female figures—laid the foundation for her international success beyond the art world. But the self-taught artist’s creative spectrum is much broader, and her unconventional oeuvre—ranging from painting and drawing to assemblages, performances, theater, film and architecture—is more subversive and critical of society than is widely assumed. Based in part on her efforts to process her own experiences, Saint Phalle addressed social and political issues, critically questioning institutions and role models in ways that are as relevant today as they have ever been. This publication sheds new light on the artist’s exceptional personality and uncovers an oeuvre that is always surprising and eccentric, emotional, dark and brutal, humorous and cheerful.

Ornaments are omnipresent: they can be found on buildings, fabrics, jewelry, tiles, ceramics and wallpaper. Scorned at the outset of the modern age, ornament has long since returned to architecture and influences design drafts as much as tattoo motifs. In New Grammar of Ornament, German architect and designer Thomas Weil compares current ornamental objects with the results of archaeological research on ornamental artifacts, and concludes that there is an anthropological constant. From the recurring arrangements of stripes, rectangles, triangles and dots and the frequency of the forms of floral ornaments used, he derives a new “grammar of ornament.” More than 160 years after Owen Jones' publication of that name, New Grammar of Ornament is a new reference work. It categorizes the variety of ornamental forms used worldwide and places them in a major art and cultural-historical context.
Thomas Weil (born 1944) studied architecture at the Technical University of Munich and early on focused on interior design and design. Since 1974 he has been working on the subject of ornamentation, which he has incorporated into numerous facades and walls as an artist. He gives national and international lectures and courses on ornamentation and is a lecturer on ornamentation at the Munich Academy of Design and Art.

Though he has engaged with a variety of mediums—watercolor, photography, sculpture—Brazilian artist Luiz Zerbini (born 1959) has devoted the past several years to the creation of monotypes. He selects leaves, flowers and branches for their distinctive shapes and textures and places them on an inked metal plate. He then lays a large sheet of paper over the plate so that the botanical compositions are transferred onto the page. The result is a large-scale monotype print that immerses the viewer in the minute details of a plant’s anatomy.

High contrast, with a minimal palette of browns, blacks and greens, these images blur the distinction between figuration and abstraction. Over the past four years, the artist has created more than 300 monotypes in this style, working from within major museum institutions in Brazil. Now, Zerbini has collaborated with the Fondation Cartier pour l'art contemporain to collect the entire series in a single large-format volume. In these images, readers can appreciate his dedication to both the craft of printmaking and the preservation of the world’s natural beauty in unexpected ways.

Cabinets of curiosities fascinated people of the 16th and 17th centuries. From crocodiles, minerals, and corals to paintings, ivory trophies, measuring instruments, and incredible automata, it was a glimpse into a world full of natural wonders and treasures that aimed to reflect the order of the universe. This magnificent volume takes us through the world’s most beautiful collections, into the Medici treasury or the Green Vault (Grünes Gewölbe) of Dresden, and offers no less than a brief cultural history of the miraculous.

Photographer Joel Meyerowitz (born 1938) began photographing redheads in 1978 against the contrasting blue backdrop of Cape Cod. The portraits from this period are collected in this new edition of Meyerowitz's 1991 photobook Redheads, featuring 16 additional images. After running an ad in the Provincetown Advocate, Meyerowitz began collecting the experiences of people who grew up with red hair, in addition to photographing them. Making up only two or three percent of the world’s population, their stories of schoolyard bullying and self-acceptance illustrate a broader narrative of growth and beauty.
Despite cultural and racial distinctions between redheads, the phenotypic association between the subjects brings a sense of familiality to the collection of portraits.
Meyerowitz describes how red hair and its reaction to light evokes a sense of the color film process. He is known for his transition to color film during a period of resistance to color photography. “My way of making portraits is not by getting down on my hands and knees, nor climbing high on a ladder, nor getting into bed with a celebrity,” Meyerowitz writes, “but simply standing eye to eye with anyone who has found their way to me, young or old. I need only one or two sheets of film and the patience to see it through.” This hardcover edition includes previously unseen portraits.

This volume, the third in the artist’s first seven-part catalogue raisonné, contains the sketches and preparatory work af Klint made in anticipation of The Paintings for the Temple. af Klint traveled with these sketchbooks so as to be able to show her friends her work in a more accessible format.

Furniture Boom: Mid-Century Modern Danish Furniture 1945–1975 offers a comprehensive overview of the style that changed the world. Design historian Lars Dybdahl tells the story of the movement from beginning to end, describing and analyzing particular iconic pieces and situating them within their historical and cultural context.

Superlatives flounder in the face of Joan Blaeu’s Atlas Maior, one of the most extravagant feats in the history of mapmaking. This stunning edition is based on the Austrian National Library’s complete colored and gold-heightened copyand reprints its 594 maps covering all then-known continents to the highest reproduction standard, rendering full justice to this luxurious Baroque wonder.

Here is an intimate look at one of music’s greatest legends, as he turns 80, by an iconic photojournalist. From the delirium of early Beatlemania to the heady days of 1970s‑era Wings to his quiet rural life in the early 1990s,Paul follows the pop genius through the years with more than 100 rare photographs. Now available in a trade edition following last year’s sold out Collector’s Edition.

Yoshitomo Nara is among the most beloved Japanese artists of his generation. His widely recognizable portraits of menacing figures reflect the artist’s raw encounters with his inner self. Nara’s oeuvre takes inspiration from a wide range of resources—memories of his childhood, music, literature, studying and living in Germany (1988–2000), exploring his roots in Japan, Sakhalin and Asia, and modern art from Europe and Japan.

Spanning 35 years (1985 to 2020), this book—which accompanies the major career retrospective organized by the Los Angeles County Museum of Art—presents the full range of Nara’s work. It also examines the artist’s work through the lens of his longtime passion—music—and features “liner notes” written by the artist about various albums in his personal collection of 1960s and 70s folk and rock albums, published in English for the first time.

The book features paintings, drawings, sculpture, ceramic figures, an installation that re-creates his drawing studio, and never-before-exhibited idea sketches that reflect the artist’s empathic eye, shining a light on Nara’s conceptual process. Readers will see the evolution of a dynamic artist who has become more contemplative with age.

A visionary creator and intrepid polymath, Wolfgang Tillmans unites formal inventiveness with an ethical orientation that attends to the most pressing issues of life today. While his work transcends the bounds of any single artistic discipline, he is best known for his wide-ranging photographic output. From trenchant documents of social movements to windowsill still lifes, ecstatic images of nightlife to cameraless abstractions, sensitive portraits to architectural studies, astronomical phenomena to intimate nudes, he has explored seemingly every genre of photography imaginable, continually experimenting with how to make new pictures and deepen the viewer’s experience.
Published in conjunction with a major exhibition of Tillmans’ work at the Museum of Modern Art, this copiously illustrated volume surveys four decades of the artist’s career. An outstanding group of writers offer diverse essays addressing key threads of his multifaceted practice, and a new text by Tillmans himself elucidates the distinctive methodology behind his system of presenting photographs. Wolfgang Tillmans: To look without fear grants readers new insight into the work of an artist who has not only changed the way photography is exhibited but pointed contemporary art in dynamic new directions.

This far-reaching book presents Kentridge’s dynamic art practice, which originates in charcoal drawing and expands into intersections with film, sculpture, opera and theater performances, printmaking and many other mediums. The volume is organized chronologically and thematically, emphasizing Kentridge’s destabilizing of South African and global narratives through openness to uncertainty, the generative power of the artist’s studio and perpetual change, all as conditions for illuminating repressed and silenced voices in historical records.
An essay by curator Ed Schad is presented along with studio photography, archival material and illuminating illustrations of Kentridge’s work, joining essays by globally recognized literary figures and thinkers Zakes Mda and Ann McCoy. Notably, the volume features a conversation between Kentridge and the famous film and sound editor Walter Murch, as well as a never-before-published lecture by the artist.

Have you taken children to a gallery recently? Did you struggle to explain the work to them in plain, simple English? With this new Dung Beetle book by artist Miriam Elia--a tribute to and a parody of the much-loved British Ladybird early learning children's books of the 1960s--anyone can learn about contemporary art and understand many of its key themes. Join John and Susan on their exciting journey through the art exhibition, where, with Mummy's help, they will discover the real meaning of all the contemporary artworks, from empty rooms to vagina paintings or giant inflatable dogs.

The 2014 limited edition of We Go to the Gallery was threatened with a lawsuit by Penguin UK (owners of the Ladybird imprint), which was withdrawn following a recent change in UK copyright law allowing for parody and satire.

This authoritative Virgil Abloh compendium, created by the designer himself, accompanies his acclaimed landmark 2019–23 touring exhibition and offers in-depth analysis of his career and his inspirations. More than a catalog, Figures of Speech is a 500-page user’s manual to Abloh's genre-bending work in art, fashion and design.
The first section features essays and an interview that examine Abloh’s oeuvre through the lenses of contemporary art history, architecture, streetwear, high fashion and race, to provide insight into a prolific and impactful career that cuts across mediums, connecting visual artists, musicians, graphic designers, fashion designers, major brands and architects. The book also contains a massive archive of images culled from Abloh’s personal files on major projects, revealing behind-the-scenes snapshots, prototypes, inspirations and more—accompanied by intimate commentary from the artist. Finally, a gorgeous full-color plate section offers a detailed view of Abloh’s work across disciplines.

Focusing on one of Murakami’s largest and most important works, In the Land of the Dead, Stepping on the Tail of a Rainbow(2014), this book offers a lavish introduction to the work of one of Japan’s greatest artists. This publication provides a broad overview of Murakami's practice and features 12 works from The Broad's substantial collection of Murakami’s work, including his early sculpture DOB in the Strange Forest (Blue DOB) (1999), Flower Matango (b) (2001–6) and such notable later paintings and drawings as Hustle'n'Punch by Kaikai And Kiki (2009), Of Chinese Lions, Peonies, Skulls, and Fountains (2011) and Tan Tan Bo a.k.a. Gerotan: Scorched by the Blaze in the Purgatory of Knowledge (2018).
The main essay by Ed Schad is presented along with studio photography, archival material and illuminating illustrations of Murakami works from around Los Angeles and the world. Notably, the volume features a conversation between Murakami and Ed Schad on making art during times of crisis and in the wake of global events such as the 2011 tsunami in Japan and the global COVID-19 epidemic of 2020 and beyond.

The last decade of the 20th century into the first decade of the 21st represent a High Renaissance age of hip hop—an era in which rap music had reached critical mass and was exploding, and in which New York City itself witnessed the worldwide ascension and cultural domination of its powerful homegrown art form. In Rap Is Risen: New York Photographs 1988–2008, celebrated photographer Sue Kwon documents this era with a combination of incisive portraits and unposed, spontaneous images that capture the energy of these ascendant artists and the city itself.
With access to some of rap music’s biggest legends—some stars already, some at the cusp of their fame—Kwon’s work offers an intimacy rarely seen in the hip hop photography of the time. The Wu-Tang Clan, Biggie Smalls, Jay-Z, Kanye West, Big Pun, Eminem, Mobb Deep, the Beastie Boys, Big L, Ice Cube, De La Soul and A Tribe Called Quest are all represented here, as well as dozens of other DJs and artists that communed with Kwon to produce these images. Method Man brushing his teeth, Fat Joe playing softball in the Bronx, Prince Paul kissing his baby son—the trust inherent between subject and photographer is evident in intimate, joyful shots like these.
Giving a rare glimpse into real rap culture, and featuring 300 photographs, most of which have never been published before, Rap Is Risen is a necessary offering to music history and the faithful followers of hip hop.

Organized into chapters that explore the many ways to express dissent (RESIST!, VOTE!, STRIKE!, TEACH! and LOVE!), Strikethrough presents more than 120 signs, posters, publications and ephemera in vivid imagery and incisive prose. From the colorful affiches of the Paris ’68 uprising to Memphis strike workers’ placards to the Black Panthers’ newspaper, this generously illustrated volume showcases the role of graphic design in a wide range of protest movements in the United States and abroad. Including selections from artists and art collectives such as Jenny Holzer, the Guerrilla Girls and Fierce Pussy, this book provides a broad and critical survey of the typographics of activism. Strikethrough also features 10 profiles on the designers behind the graphics—including Corita Kent, Emory Douglas and Ben Shahn—and a custom display typeface based on historical protest graphics by Tré Seals, plus an introduction by activist and design scholar Colette Gaiter and an essay on type by Stephen Coles.
Charting a typographic chant of resistance that spans more than 150 years, Strikethrough curators Silas Munro and Stephen Coles reveal how the message makes its way to the masses via marker, screen print, spray paint, collage and both physical and digital type, and how it calls on us all to craft our own demands for social change.
Artists and designers include: Atelier Populaire, See Red Women’s Workshop, Carlos Cortez, Emory Douglas, fierce pussy, Ganzeer, Milton Glaser, Guerrilla Girls, Jenny Holzer, Corita Kent, Aaron Douglas, Art Workers’ Coalition, OSPAAAL, Tibor Kalman, Amos Paul Kennedy, Jr., Herb Lubalin, Phase 2, Favianna Rodriguez, Ward Schumaker, Ben Shahn and Wes Wilson.

Few materials have experienced a similar reevaluation in contemporary art as clay has over the past few years. This timely publication accompanies a large-scale exhibition at Hayward Gallery, London, exploring how contemporary artists are using clay and ceramics in inventive and surprising ways, pushing the boundaries of the medium.
Featuring the work of over 20 international artists—from Grayson Perry to Woody De Othello—an introductory essay by curator Cliff Lauson, a text on the history of fine art and ceramics by writer and critic Amy Sherlock and a round-table discussion with artists from the exhibition, this catalog is an exciting contribution to the ongoing conversation about the relationship between art and craft.
Artists include: Salvatore Arancio, Leilah Babiryre, Jonathan Baldock, Lubna Chowdhary, Woody De Othello, Edmund de Waal, Emma Hart, Rachel Kneebone, Serena Korda, Klara Kristalova, Beate Kuhn, Takuro Kuwata, Jianhua Liu, Lindsey Mendick, Ron Nagle, Magdalene Odundo, Grayson Perry, Shahpour Pouyan, Ken Price, Brie Ruais, Betty Woodman and David Zink Yi.

This catalog traces the history of paper as an ancient material used from antiquity to the present day. Encompassing paper's manufacture, circulation and technical development, Stories of Paper highlights the many aspects of this humble material. The diversity of the artworks reproduced here—many of which are gathered from the collections of the Louvre, Musée Guimet, Bibliothèque nationale de France, the Centre Georges-Pompidou, Louvre Abu Dhabi, Sharjah Art Foundation, Goesan Museum and the Cultural Institute of Korea—inspires readers to consider paper as a medium for creativity and exchange across centuries and cultures.
Artists include: Abdullah Al Saadi, Achille Etna Michallon, Adam Frans Van Der Meulen, Adriaen Frans Boudewyns, Hui Neng, Muhammadi Haravi, Beatrice Casadesus, Bertrand Lavier, Charles Le Brun, Dana Awartani, Du Dashou, Edme Bouchardon, Etel Adnan, Fra Angelico, Giovanni Battista Piranesi, Girolamo Muziano, Hassan Sharif, Henri Gissey and Isoda Koryusai.

Sonia Delaunay was a true pioneer of modernist abstraction; breaking with the figurative vocabulary that subordinated color to subject matter, she placed dynamic color interaction at the core of her vision, whether expressed through painting, book illustration or costume and textile design. Drawing inspiration from both traditional Russian crafts and the modern frenetic metropolis, Delaunay’s work reflects the drastic changes ushered in by industrialization. Through her polyvalent practice, Delaunay helped construct the new modern woman that she herself embodied: equal parts avant-gardist, creative entrepreneur and businesswoman.
This richly illustrated catalog showcases the range of Delaunay’s work as it unfolded over 60 years, from abstract paintings and works on paper to textile design, garments, fashion photography, books and carpets—even a brightly colored sports car.

Danzig Baldaev's father was an academic, an ethnologist who found himself imprisoned under Soviet rule as an enemy of the people. In fact much of Baldaev's family moved through the Soviet prison system, while he became a guard. At his father's suggestion, Danzig used his access to document and study the tattoos that were pervasive among the truly criminal portion of the prison population, the vory v zakonye, or legitimate thieves, a semi-professional class who kept their own brutal laws. During his 30 years supervising inmates in St. Petersburg's notorious Kresty Prison, Baldaev recorded more than 3,000 of their tattoos and parsed their meanings, in the drawings and text that made the first volume of the Russian Criminal Tattoo Encyclopedia a bestseller. This essential second volume, which collects all-new, previously unseen photographs and drawings, goes to the extremes of his incredible collection. Sergei Vasiliev's photographs authenticate the images, Baldaev's drawings make sense of them and through them both we glimpse an extraordinary world where the criminal's position, history and even sexual preference are displayed indelibly on his body.

Every year, the iconic luxury brand Hermès chooses a new theme to celebrate its creative direction for the upcoming year. This practice began in 1987, marking the brand's 150th anniversary, and has since become a beloved tradition—a way to combine the house's proud, storied heritage with its creative vision for the future.

Hermès' Year Theme for 2018 is "Let's Play," and the brand is celebrating in style with this new, deluxe pop-up book. Featuring a selection of 14 of the house's iconic square scarf designs, both old and more recent, this book brings the designs alive with exhilarating ingenuity. Delicate paper constructions bring out the depth and volume within the scarf designs; zebras rear up, delicately arching trees grow from the page and painterly strokes detach themselves from the paper surface. This is the Hermès carré as you've never seen it before.

For Hermès, a brand associated with the highest quality luxury materials and design, "play is movement, freedom, imagination, fantasy, seduction, lightness." Impeccably produced, Hermès Pop Up gives readers the chance to play around in the brand's archives.

The radical cultural transformations that occurred in New York in the three years between January 1962 and December 1964 ramified across the world. In addition to a whole host of creative innovations across disciplines, the period also saw a shift in the center of artistic gravity from Europe to the United States and the rise of a new leadership in the arts—curators, gallerists and other impresarios. Modeled on the scale and format of Life magazine (one of the most widely read publications of the era), this lavishly illustrated oversized paperback traces a detailed itinerary of artists and curators, experimental exhibitions and museums, as well as historical and political events that transformed society during this explosive moment. From the New Realists exhibition at Sidney Janis Gallery in 1962 to Robert Rauschenberg’s unexpected win of the International Grand Prize in Painting at the 1964 Venice Biennale, every groundbreaking event from this incredible three-year period is documented.
Organized chronologically, the book is teeming with images of artworks and archival photographs, and artist interviews conducted by the late great curator Germano Celant.
Artists include: Diane Arbus, Lee Bontecou, Chryssa, Merce Cunningham, Jim Dine, Melvin Edwards, Dan Flavin, Lee Friedlander, Nancy Grossman, Jasper Johns, Donald Judd, Ellsworth Kelly, Yayoi Kusama, Norman Lewis, Roy Lichtenstein, Marisol, Agnes Martin, Louise Nevelson, Isamu Noguchi, Claes Oldenburg, Yvonne Rainer, Robert Rauschenberg, Faith Ringgold, Larry Rivers, James Rosenquist, Miriam Schapiro, Carolee Schneemann, George Segal, Jack Smith, Harold Stevenson, Marjorie Strider, Mark di Suvero, Bob Thompson and Andy Warhol.

Early work from Lee Friedlander capturing a pivotal moment in the Civil Rights Movement

 On May 17, 1957, through the generosity of Bayard Rustin, Lee Friedlander was given full access to photograph the participants of the Prayer Pilgrimage for Freedom in Washington, D.C. This extraordinary event, organized by Mr. Rustin, as well as A. Philip Randolph, Roy Wilkins and Dr. Martin Luther King, Jr., brought together many of the great thinkers and leaders of the period, and was a pivotal moment in the Civil Rights Movement.

 Friedlander's photographs depict the famous individuals at the event―Mahalia Jackson, Ruby Dee and Harry Belafonte, among many other luminaries of the African-American community―but they also pay particular attention to the 25,000 men, women and children who gathered to give voice and energy to the ideas embattled by the movement.

 The 58 previously unpublished photographs gathered here are among Friedlander's earliest work. Also included in this publication is the typescript of Martin Luther King, Jr.'s "Give Us the Ballot" speech and additional ephemera from the march produced in facsimile.

The first comprehensive book on the surreal, queer and humorous photographic art of Jimmy DeSana, a central figure in New York's art and music scenes of the 1970s and '80s

 This is the first overview of the work of Jimmy DeSana, a pioneering yet underrecognized figure in New York's downtown art, music and film scenes during the 1970s and 1980s. The book situates DeSana's work and life within the countercultural and queer contexts in the American South as well as New York, through his involvement in mail art, punk and No Wave music and film, and artist collectives and publications.

 DeSana's first major project was 101 Nudes, made in Atlanta during the city's gay liberation movement. After moving to New York in 1973, DeSana became immersed in queer networks, collaborating with General Idea and Ray Johnson on zines and mail art, and documenting the genderqueer street performances of Stephen Varble.
By the mid-1970s, DeSana was a fixture in New York's No Wave music and film scenes, serving as portraitist for much of the period's central figures and producing album covers for Talking Heads, James Chance and others. His book Submission, made with William S. Burroughs, humorously staged scenes out of a S&M manual that explored the body as object and the performance of desire. DeSana was also an early adopter of color photography, creating his best-known series, Suburban, in the late 1970s and early 1980s. This body of work explores relationships between gender, sexuality and consumer capitalism in often humorous, surreal ways. After DeSana became sick as a result of contracting HIV, he turned to abstraction, using experimental photographic techniques to continue to push against photographic norms.

The first book on Basquiat's ingenious uses of found objects and unconventional materials

 Bringing together a range of unconventional painted supports and found-object sculptures, Jean-Michel Basquiat: Art and Objecthood provides an innovative, in-depth look into the artist's sculptural practice. In addition to painting and drawing on everything within his domestic spaces--refrigerators, chairs, cabinets--Basquiat made use of discarded windows and doors, mirrors, wood boards and subway tiles in his earliest creations. In a 1985 interview with Becky Johnston and Tamra Davis, he explained: "The first paintings I made were on windows I found on the street. And I used the window shape as a frame, and I just put the painting on the glass part and on doors I found on the street."

 Jean-Michel Basquiat: Art and Objecthood borrows its title from the influential 1967 essay by renowned art historian Michael Fried, who critiqued Minimalism for its dogmatic separation between "art" and "object," arguing that its presentation of isolated objects as art was theatrics rather than a true art, which for Fried implied the unity of art and object. Invoking Fried's stance, this book invites viewers to consider the debate on art and objecthood as a lens through which to consider Basquiat's uses of objects. The book also demonstrates the extent to which these uses reveal his dedication to the struggle against social inequality and his profound engagement with the politics of race in the US.

The first book to focus exclusively on Hokusai's landscapes, by one of the world's leading ukiyo-e specialists

 The best known of all Japanese artists, Katsushika Hokusai was active as a painter, book illustrator and print designer throughout his 90-year lifespan. Yet his most famous works--the color woodblock landscape prints issued in series--were produced within a relatively short time, in an amazing burst of creative energy that lasted from about 1830 to 1836.

 Hokusai's landscapes revolutionized Japanese printmaking and became icons of world art within a few decades of the artist's death. Hokusai's Landscapes focuses exclusively on this pivotal body of the artist's work, the first book to do so. Featuring stunning color reproductions of works from the incomparable Japanese art collection at the Museum of Fine Arts, Boston (the largest collection of Japanese prints outside Japan), Hokusai's Landscapes examines the magnetic appeal of Hokusai's designs and the circumstances of their creation.

The book includes all published prints of the artist's eight major landscape series: Thirty-Six Views of Mount Fuji (1830-32), A Tour of Waterfalls in Various Provinces (1833-34), Snow, Moon and Flowers (1833), Eight Views of the Ryukyu Islands (1832-33), One Thousand Pictures of the Ocean (1832-33), Remarkable Views of Bridges in Various Provinces (1834), A True Mirror of Chinese and Japanese Poetry (1833) and One Hundred Poems Explained by the Nurse (1835).

The second installment in an epic and authoritative seven-volume Hilma af Klint catalogue raisonné the pioneering abstractionist's beloved The Paintings for the Templeseries

 Between 1906 and 1915, Hilma af Klint (1862-1944) created 193 paintings that she would title The Paintings for the Temple. Colorful, mostly abstract, with biomorphic imagery, these works expressed af Klint's mediumistic vision of spiritual reality, which she hoped would ultimately be installed in a round temple for true spiritual comprehension and enlightenment. Since the internationally acclaimed Guggenheim exhibition of 2018-19, these works have come to number among her most popular, defining and beloved.

 This handsomely produced clothbound volume collects these paintings in the second of a projected and collectible seven-volume catalogue raisonné that will present the entirety of af Klint's work in its dazzling totality for the first time. Produced in cooperation with the Axel and Margaret Ax: son Johnson Foundation, it features introductions by Daniel Birnbaum, former head of Moderna Museet in Stockholm, Sweden, and architect of the grand af Klint exhibitions between 2013 and 2019, and Kurt Almqvist, President of the Axel and Margaret Ax: son Johnson Foundation for Public Benefit.

Ringgold's most formative and influential political works are gathered in this beautifully designed clothbound volume

Alongside reproductions of key works made between 1967 and 1981, Faith Ringgold: Politics / Power provides an overview of Ringgold's seminal artistic and activist work, and its historical context during these years, including accounts by the artist herself.
During the 1960s and 1970s, Ringgold, a dedicated and impassioned civil rights advocate, established her voice as a feminist and within the Black Arts Movement. Her influential work expressed her in-depth knowledge of art history and contemporary art, as well as her activism. Spanning mediums such as painting, cut paper works, posters, collage and textile art, the works presented in this publication foreground the artist's explicitly political pieces, for which she deployed new material and formal processes, and developed a radical aesthetics and vocabulary.
Organized chronologically, the book allows readers to retrace the artist's foundational creative approaches to contemporaneous social, political and artistic questions. It includes illustrations of individual artworks together with previously unpublished work and archival materials.

How design can help foster the conditions for global peace: an intersectional visual conversation between activists, designers, architects and theorists

How might we collectively put our creative forces together to envision a future we want to live in and take action to create it now? Designing Peace is an intersectional snapshot of the actions—culturally diverse and wide-ranging in scale—that are currently in play around the world.

Offering perspectives on peace through essays, interviews, critical maps, project profiles, data visualizations and art, this book conveys the momentum that design can gain in effecting a peace-filled future. From activists, scholars and architects to policymakers and graphic, game and landscape designers, Designing Peace flips the conversation: peace is not simply a passive state signifying the absence of war, it is a dynamic concept that requires effort, expertise and multidimensional solutions to address its complexity.

Designers engage with individuals, communities and organizations to create a more sustainable peace—from creative confrontations that challenge existing structures to designs that demand embracing justice and truth in a search for reconciliation. This publication aims to expand the discourse on what is possible if society were to design for peace.

Simplified renderings of the iconic British artist's works: a coloring book for all ages

Damien Hirst: Colouring Book features the British artist's most iconic works rendered as simple line drawings. Coloring fans of all ages can immerse themselves in themes and motifs found within some of the artist's most enduring series, including anatomical models, butterflies, medicine cabinets, spin paintings, color charts and kaleidoscope paintings. Featuring Hirst's most popular images, including The Incomplete Truth, Myth, Loving in a World of Desire, Hymn, For the Love of God, Benevolence and more, the volume brings some of the most controversial and groundbreaking work of contemporary art to a witty coloring-book format.

A Great Turn in the Possible follows Weems’s muses, as they perform and re-enact life itself, as they occupy public space, as they challenge history and its scenarios, as they embrace the future and its conditions of possibility, as the artist seeks to generate a space for a new socio-political and cultural conversation, praising the efforts of the precursors, widening the path for the successors, and most of all, aspiring to a communal reimagination of a shared future.

This volume features new watercolor works on paper and assemblages by Betye Saar (born 1926) that incorporate the artist’s personal collection of Black dolls. These watercolors showcase the artist’s experimentation with vivid color and layered techniques, and her new interest in flat shapes. While Saar has previously used painting in her mixed-media collages, this is the first publication to focus on her watercolor works on paper.

The Bauhaus looms large as one of the most influential legacies in 20th-century graphic design. Known for its bold sans-serif typefaces, crisp asymmetrical grids and clean use of negative space, the school emerged as the forebearer of a new look—one that seized the tools of mass production in the creation of a radical new art. Today, just over 100 years after the Bauhaus’s opening in 1919, the school’s visual hallmarks have come to define modernity as it appears on the printed page.

The Atlas of Furniture Design is the most comprehensive overview of the history of furniture design ever published. The book documents 1,740 objects by 546 designers and 565 manufacturers, and features more than 2,500 images, from detailed object photographs to historical documentation such as interiors, patents, brochures and reference works in art and architecture.

Ghanaian painter Amoako Boafo has built a practice synthesizing the ways that art both reflects and perpetuates the power of representation. Amoako Boafo is the first monograph to comprehensively examine the artist's career to date. Heavily illustrated and featuring original contributions by Osei Bonsu, Rachel Cargle, Mutombo Da Poet and Aja Monet, the book also presents an insightful and expansive conversation with the artist by Paul Schimmel.
Exclusively portraying individuals from the diaspora and beyond, Boafo invites a reflection on Black subjectivity, diversity and complexity. His portraits, notable for their bold colors and patterns, celebrate his subjects as a means to challenge portrayals that objectify and dehumanize Blackness. As Boafo has stated, “the primary idea of my practice is representation, documenting, celebrating and showing new ways to approach Blackness.”

This groundbreaking survey provides an in-depth account of Martin's artistic career, from lesser-known early experimental works through her striped and gridded grey paintings and use of color in various formats, to a group of her final pieces that reintroduce bold forms. A selection of drawings and watercolors and Martin's own writing are also included.

Accompanying the first retrospective of Taeuber-Arp’s work in the United States in 40 years, Sophie Taeuber-Arp: Living Abstraction is a comprehensive survey of this multifaceted abstract artist’s innovative and wide-ranging body of work. Her background in the applied arts and dance, her involvement in the Zurich Dada movement and her projects for architectural spaces were essential to her development of a uniquely versatile and vibrant abstract vocabulary. Through her artistic output and various professional alliances, Taeuber-Arp consistently challenged the historically constructed boundaries separating fine art from craft and design.

Larger-than-life British artist Lucian Freud enjoyed a career lasting over seven decades. He worked almost until the day he died, when he left a portrait of friend and studio assistant David Dawson unfinished.

Now available for the first time in one elegantly combined edition, this acclaimed celebration of Freud's work from the 1930s to his death in 2011 includes hundreds of paintings, drawings, sketches, and etchings - even personal photographs and illustrated private letters.

A comprehensive overview of his life and work in one luxurious volume, this book is a gorgeous addition to the shelves of art lovers everywhere. Created in collaboration with the Lucian Freud Archive and David Dawson, Director of the Archive, and edited by Mark Holborn.

Specifications:

• Format: Hardback
• Size: 353 × 273 mm (13 7/8 × 10 3/4 in)
• Pages: 624 pp
• Illustrations: 487 illustrations

This illustrated biography tells the story of Gropius's life, beginning with his shattering experiences in World War One, his turbulent marriage to the notorious Alma Mahler, the establishment of the Bauhaus, and the tragic death of their daughter Manon.

After Gropius's agonized decision to leave Nazi Germany in 1933, the book explores his life in exile in London and then his move to America in 1937, where he lived and worked until his death in 1969.

Features more than 375 illustrations including letters, telegrams, sketches, drawings, photographs, posters, brochures, and other ephemera. The authors present the life of Walter Gropius as not just a key figure of 20th-century architecture, but as an extraordinarily generous person - a connector, protector, and benefactor who improved the lives and careers of all those with whom he came into contact.

This is the first comprehensive illustrated biography of one of Modern architecture's most important figures.

Specifications:

• Format: Hardback
• Size: 305 × 238 mm (12 × 9 3/8 in)
• Pages: 320 pp
• Illustrations: 377 illustrations

Before dawn one morning in October 2016, renowned New York-based floral designer Lewis Miller stealthily arranged hundreds of brightly colored dahlias, carnations, and mums into a psychedelic halo around the John Lennon memorial in Central Park. The spontaneous floral installation was Miller's gift to the city—an effort to spark joy during a difficult time. Five years and more than ninety Flower Flashes later, these elaborate flower bombs—bursts of jubilant blooms in trash cans, over bus canopies, on construction sites and traffic medians—have brought moments of delight and wonder to countless New Yorkers and flower lovers everywhere, and earned Miller a following of dedicated fans and the nickname "the Flower Bandit."

After New York City entered lockdown, Miller doubled down, creating Flower Flashes outside hospitals to express gratitude to frontline health workers and throughout the city to raise spirits. This gorgeous and poignant visual diary traces the phenomenon from the first, spontaneous Flower Flash to the even more profound installations of the pandemic through a kaleidoscopic collage of photos documenting the Flower Flashes, behind-the-scenes snapshots, Miller's inspiration material, fan contributions, and more.

Specifications:

• Format: Hardback
• Size: 254 × 241 mm (11 1/2 × 9 1/2 in)
• Pages: 240 pp
• Illustrations: 350 illustrations

A year-by-year journey through the life and work of David Hockney that follows the artist from London in the Swinging Sixties, via Californian swimming pools, to the landscapes of his native Yorkshire. Artworks and biographical text together let the reader take part in Hockney’s artistic research, inspiration, and creation.

Hardcover, 6.1 x 8.5 in., 2.73 lb, 512 pages

This dazzling tribute to Muhammad Ali and George Foreman’s 1974 boxing match in Kinshasa, Zaire, brings together the best of Norman Mailer’s classic commentary The Fight with color and black-and-white photographs from the two men who captured Ali like no one else: Neil Leifer and Howard L. Bingham.

First published as a signed Collector’s Edition, now available in an unlimited edition.

Hardcover, 11 x 13.3 in., 5.98 lb, 260 pages

Annie Leibovitz began working as a photographer in the early 1970s, which was a volatile and frenetic time in America. The lines had yet to be drawn between journalists and the people they covered, so she had access that would now be considered unusual. This unique collection provides a vivid account both of Leibovitz’s development as an artist and of a pivotal era.

Hardcover, 8.5” x 10.6”, 182 pages

This encyclopedia explores the hidden meanings of visual symbols across time and geography, from the sun to whales and the human hand. Spanning different eras and cultures, over 800 beautiful images combine with expert illuminations of symbol history, meanings, and psychic associations, offering readers a precious and fascinating resource for thoughtful interpretations of life, art, and spirituality.

Hardcover, 6.6” x 9.4”, 808 pages

A visual and conceptual conversation between two leading US photo-artists famed for their mutual explorations of race, class and power

Dawoud Bey and Carrie Mae Weems met in New York in the late 1970s, and over the next 45 years these close friends and colleagues have each produced unique and influential bodies of work around shared interests and concerns. This publication brings together over 140 photographs and video art from the 1970s through the 2010s by two of our most notable and influential photo-based artists.
Since first meeting at the Studio Museum in Harlem five decades ago, Bey and Weems have maintained spirited and supportive mutual engagement while exploring and addressing similar themes: race, class, representation, and systems of power. Dawoud Bey & Carrie Mae Weems: In Dialogue brings their work together in five thematic groupings to shed light on their unique creative visions and trajectories, and their shared concerns and principles.
Photographer Dawoud Bey (born 1953) had his first exhibition at the Studio Museum in Harlem in 1979. Since then, his work has been presented internationally to critical and popular acclaim. Recent large-scale exhibitions of his photographs have been presented at the San Francisco Museum of Modern Art, the Whitney Museum of American Art, the Art Institute of Chicago and Tate Modern, London. Bey’s writings on his own and others’ work are included in Dawoud Bey: Seeing Deeply and Dawoud Bey on Photographing People and Communities. He is a professor of art and Distinguished College Artist at Columbia College Chicago.
Famed for her Kitchen Table Series, among other works, Carrie Mae Weems(born 1953) explores power, class, Black identity, womanhood, and the historical past and its resonance in the present moment. In addition to photography, Weems creates video, performance and works of public art, and organizes thematic gatherings which bring together creative thinkers across a broad array of disciplines. Her work has been exhibited across the world, at venues such as the Frist Center for the Visual Arts, the Solomon R. Guggenheim Museum, the Centro Andaluz de Arte Contemporáneo and the American Academy in Rome.

This collection of 30 photographs by American photographer Peter Kayafas (born 1971) depicts people swimming in the ocean at Coney Island, a location that has long served as a source of inspiration and fascination for artists. Made over the course of many summers and one particular winter during which Kayafas was a member of Coney Island’s legendary Polar Bear Club (the oldest winter bathing club in the United States) in the 1990s and 2000s, the photographs are filled with energy, movement, grace and a surprising intimacy.
Using a waterproof camera, hidden just below the ocean’s surface, Kayafas captures candid snapshots of unsuspecting beachgoers. His focus on the swimmers over a period of two decades provides an extended insight into the elemental relationship humans have with water.

Produced in collaboration with the band, who gave unprecedented access to their archives in London and New York, this is a book to get you infinite satisfaction. More than 450 richly illustrated pages chart the remarkable scope of the Stones’ almost 60-year history and mesmerizing on- and off-stage presence—featuring the work of legendary photographers David Bailey, Herb Ritts, Peter Beard, Andy Warhol, David LaChapelle, Albert Watson, Annie Leibovitz, Ethan Russell, Gered Mankowitz, Cecil Beaton, Anton Corbijn, and many more.

Compiled by famed nostalgia enthusiast Jonny Trunk (owner of record label Trunk Records, and author of The Music Library, Own Label and Wobbly Sounds), and with a foreword by Pulp frontman Jarvis Cocker, Wrappers Delight is crammed with more than 500 examples of British candy-wrapper designs from the 1960s to the 1980s—the first and only overview of Britain’s drinks and confectionery industry during this period.

The book catalogs the amazing collection of a man named John Townsend, who collected candy cigarette boxes, wax gum papers, potato-chip bags, soda cans, rock labels, stamps, transfers, coupons, recipe cards, tickets, odd boxes, badges, cards, stickers and much more. All these items have been carefully documented, presented in alphabetical order by manufacturer and reproduced here in the highest quality. Among the confections and manufacturers to be found here are Cider Barrel, Cresta, Tip Top, Pacemakers, Lollygobblechocbomb, Kung Fueys, Fizz Bang, UFO sweet cigarettes and other TV tie-ins, Furry Friends and Fingammies.

This book will come as a delightful revelation (or a happy reminder) for graphic designers and nostalgia aficionados everywhere.

William Eggleston's Guide was the first one-man show of color photographs ever presented at The Museum of Modern Art, New York, and the Museum's first publication of color photography. The reception was divided and passionate. The book and show unabashedly forced the art world to deal with color photography, a medium scarcely taken seriously at the time, and with the vernacular content of a body of photographs that could have been but definitely weren't some average American's Instamatic pictures from the family album. These photographs heralded a new mastery of the use of color as an integral element of photographic composition. Bound in a textured cover inset with a photograph of a tricycle and stamped with yearbook-style gold lettering, the Guide contained 48 images edited down from 375 shot between 1969 and 1971 and displayed a deceptively casual, actually super-refined look at the surrounding world. Here are people, landscapes and odd little moments in and around Eggleston's hometown of Memphis--an anonymous woman in a loudly patterned dress and cat's eye glasses sitting, left leg slightly raised, on an equally loud outdoor sofa; a coal-fired barbecue shooting up flames, framed by a shiny silver tricycle, the curves of a gleaming black car fender, and someone's torso; a tiny, gray-haired lady in a faded, flowered housecoat, standing expectant, and dwarfed in the huge dark doorway of a mint-green room whose only visible furniture is a shaded lamp on an end table. For this edition of William Eggleston's Guide, The Museum of Modern Art has made new color separations from the original 35 mm slides, producing a facsimile edition in which the color will be freshly responsive to the photographer's intentions.

In We Learn at Home, Miriam Elia’s follow-up to last year’s hit We Go to the Gallery, Mummy takes John and Susan out of their local school to be reeducated at home—though not before tagging the walls of St. James’ Primary with the words “Fascist Scum.” In order to introduce their young minds to a new, alternative worldview, Mummy will ground all learning in a feelings-based outlook, free of any actual facts or skills, and reevaluate core subjects such as mathematics, religion, philosophy and art. John and Susan burn the Union Jack, debate and learn to paint their inner children. Key vocabulary for young readers includes terms such as “Marx” and “Buddha.”

Pocket-sized, printed in bold colors and written in clear, simple English, the Dung Beetle Learning series pays tribute to and skewers the much-loved British Ladybird early learning children’s books of the 1960s, with our child protagonists learning about contemporary art and politics rather than helping their parents around the house. In We Go to the Gallery, Susan found that the decay of Western civilization smells like rubbish, John learned that some toys are only for venture capitalists and the siblings discovered that God is dead. What new lessons will Mummy teach?

A 75th-anniversary facsimile edition of one of the most significant photobooks ever published

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.

In The Spectacle of Illusion, professional magician-turned experimental psychologist Dr. Matthew L. Tompkins investigates the arts of deception as practised and popularised by mesmerists, magicians and psychics since the early 18th century. Organised thematically within a broadly chronological trajectory, this compelling book explores how illusions perpetuated by magicians and fraudulent mystics can not only deceive our senses but also teach us about the inner workings of our minds. Indeed, modern scientists are increasingly turning to magic tricks to develop new techniques to examine human perception, memory and belief. Beginning by discussing mesmerism and spiritualism, the book moves on to consider how professional magicians such as John Nevil Maskelyne and Harry Houdini engaged with these movements – particularly how they set out to challenge and debunk paranormal claims. It also relates the interactions between magicians, mystics and scientists over the past 200 years, and reveals how the researchers who attempted to investigate magical and paranormal phenomena were themselves deceived, and what this can teach us about deception. Highly illustrated throughout with entertaining and bizarre drawings, double-exposure spirit photographs and photographs of spoon-bending from hitherto inaccessible and un-mined archives, including the Wellcome Collection, the Harry Price Library, the Society for Physical Research, and last but not least, the Magic Circle’s closely guarded collection, the book also features newly commissioned photography of planchettes, rapping boards, tilting tables, ectoplasm, automata and illusion boxes. Concluding with a modern-day analysis of the science of magic and illusion, analysing surprisingly weird phenomena such as ideomotor action, sleep paralysis, choice blindness and the psychology of misdirection, this unnerving volume highlights how unreliable our minds can be, and how complicit they can be in the perpetuation of illusions.

A Chicago Tribune 2020 holiday gift guide pick

In Tar Beach, photographer and Little Italy resident Susan Meiselas (born 1948) brings together found pictures that were made, kept and gathered by various families who handed them down from 1940 to the early 1970s. Reflections from the community offer perspectives of multiple generations, as local author Angel Marinaccio says: “If you had an accomplishment—communion, confirmation, wedding, graduation or birthday, you‘d dress up in your best outfit and go to the rooftop to take pictures and celebrate with your family.”

The introduction to Tar Beach is written by renowned filmmaker Martin Scorsese, who grew up on the streets portrayed in this collection. He writes: “The roof was our escape hatch and it was our sanctuary. The endless crowds, the filth and the grime, the constant noise, the chaos, the claustrophobia, the non-stop motion of everything … you would walk up that flight of stairs, open the door, and you were above it all. You could breathe. You could dream. You could be.”

Meiselas, along with two of her neighbors, Angel Marinaccio and Virginia Bynum, collected and curated these vernacular photographs and memories to convey the feeling of this special place and time in the daily lives of Italian immigrants as they made their way to becoming part of American culture.

Stephen Shore: Elements is inspired by the Eakins Press Foundation’s celebrated debut publication, Walker Evans’ Message from the Interior (1966), gathering images from across Evans’ career. As with that book, the photographs of Stephen Shore (born 1947) have been carefully selected to represent the poetry of his approach to the world through photographs. The 24 images (16 color and 8 black and white), from the last of his work with the 8x10" view camera, range in location from New York’s Hudson Valley to the Yucatan, Italy, Texas, Israel and Scotland. As the book’s title suggests, what connects these photographs are the elemental resonances of the earth, humanity and time.

From his early days as a teenager at Andy Warhol’s Factory and his 1971 exhibition at the Metropolitan Museum of Art (at the time only the second one-person show the museum had ever mounted of a photographer) to his celebrated Uncommon Places (1982), to his current pioneering use of social media platforms and print-on-demand books, Shore has not for a moment let up on his mission to challenge the norms of the photographic medium.

In Stephen Shore: Elements, the Eakins Press Foundation extends its historically important embrace of work by individual artists that represents the highest standard of human achievement in our society.

Since 1985, photographer Phyllis Galembo has traveled extensively to photograph sites of ritual dress in Africa and the Caribbean. In her latest body of work, collected in this new publication, Galembo turns to Mexico, where she captures cultural performances with a subterranean political edge. Using a direct, unaffected portrait style, Galembo captures her subjects informally posed but often strikingly attired in traditional or ritualistic dress.

Masking is a complex tradition in which the participants transcend the physical world and enter the spiritual realm. Masks, costumes and body paint transform the human body and encode a rich range of political, artistic, theatrical, social and religious meanings on the body. In her vibrant color photographs, Galembo highlights the artistry of the performers, how they use materials from their immediate environment to morph into a fantastical representation of themselves and an idealized vision of a mythical figure. In a gorgeous, fascinating photographic survey of Mexico’s masking practices, Galembo captures her subjects suspended between past, present and future, with their religious, political and cultural affiliations—their personal and collective identifications—displayed on their bodies.

Photographer Phyllis Galembo (born 1952) received her MFA from the University of Wisconsin–Madison in 1977, and was Professor in the Fine Arts Department of SUNY Albany from 1978 to 2018. A 2014 Guggenheim Fellow, Galembo has photographs in numerous public and private collections, including the Metropolitan Museum of Art and the New York Public Library. Her photographs of ritual masks in Africa, the Diaspora and beyond have been the subject of several monographic publications, including Maske(Aperture, 2016).

Featured photograph, of ceramicist Caroline Wallner and her daughter Lucille Reback, is reproduced from ‘Michael Stipe'.

Daniel Nicoletta (born 1954) has been a leading chronicler of the LGBT civil rights movement in San Francisco over the last 40 years. This is the first book dedicated to his powerful photographs documenting the journey of the burgeoning lesbian-gay-bisexual-transgender mecca that was San Francisco in the 1970s through to the present. Nicoletta is best known for his iconic images of Harvey Milk, one of the world’s first openly gay elected officials, who was assassinated by a homophobic colleague in 1978. Nicoletta portrayed glittering drag queens, the alternative theater world and the steadfast bravery of same-sex couples trying to live their lives amid often adverse cultural sea changes. Today, Nicoletta continues to document the reverberations of Milk’s legacy. He serves as a key point person for LGBT civil rights and Milk-related research. In 2014, one of Nicoletta’s photographs was used on a US Harvey Milk Forever stamp. LGBT: San Francisco is an essential gay history and a stunning photographic work that is not to be missed.

A Chicago Tribune 2020 holiday gift guide pick

In 1961, Leonard Freed was on assignment in Berlin. He photographed a Black soldier standing in front of the wall. The irony of this soldier defending the USA on foreign soil while Black Americans at home were fighting for their civil rights was not lost on Freed. He returned to the States in 1963 to photograph the March on Washington and began a journey to document Black communities in the North and South living within a deeply segregated and racist country.

Leonard Freed’s seminal civil rights photo essay, Black in White America, was first published in 1968. This newly expanded and redesigned edition includes unseen photographs, as well as Freed’s most iconic images and is the definitive collection of his photographs from the time. The images have never been printed in such quality before, the clarity of print serving to bring home the singular power of Freed’s talent as a documentarian.

This extraordinary work includes pivotal moments in the civil rights movement, such as the March on Washington and the Selma to Montgomery marches. It is also a nuanced journey into the ordinary lives of a marginalized Black community living within a deeply divided nation. Freed was celebrated for his singular talent as a socially conscious photojournalist, and this essay conveys with power and dignity the exhausting, endless struggle of being Black in white America.

Leonard Freed (1929–2006) was an acclaimed American documentary photojournalist and member of Magnum Photos. Born and raised in working-class Brooklyn, Freed rose to prominence for his portrayal of societal and racial injustices, particularly in relation to the Black community during the American civil rights movement in the 1960s. He is also renowned for his photo-essays on the Jewish community in Amsterdam and Germany, the Yom Kippur War, Asian immigration in England, North Sea oil development, Spain after Franco and the New York police department in the 1970s, among others.

By 1944, Gordon Parks had established himself as a photographer who freely navigated the fields of press and commercial photography, with an unparalleled humanist perspective. That year, Roy Stryker—the former Farm Security Administration official who was now heading the public relations department for the Standard Oil Company (New Jersey)—commissioned Parks to travel to Pittsburgh, Pennsylvania, to document the Penola, Inc. Grease Plant.
Employing his signature style, Parks spent two years chronicling the plant’s industry—critical to Pittsburgh’s history and character—by photographing its workers. The resulting photographs, dramatically staged and lit and striking in their composition, showed the range of activities engaged in by Black and white workers, divided as they were by roles, race and class. The images were used as marketing materials and made available to local and national newspapers, as well as corporate magazines and newsletters. However, they served as much more than documentation of industry, enduring as an exploration of labor and its social and economic ramifications in World War II America by one of the most influential artists of the 20th century.
Featuring more than 100 photographs, many previously unpublished, this is the first book to focus exclusively on Parks’ photographs for the Standard Oil Company, illuminating an important chapter in his career prior to his landmark career as a staff photographer for Life.
Gordon Parks was born into poverty and segregation in Fort Scott, Kansas, in 1912. He worked as a brothel pianist and railcar porter, among other jobs, before buying a camera at a pawnshop, training himself and becoming a photographer. In addition to his tenures photographing for the FSA (1941–45) and Life magazine (1948–72), Parks evolved into a modern-day Renaissance man, finding success as a film director, writer and composer. He died in 2006.

With more than 100 buildings and scores of design objects to his name, Italian architect and designer Gio Ponti revolutionized postwar architecture and opened up prospects for new ways of life.

Gio Ponti: Archi-Designer covers Ponti’s entire career from 1921 to 1978, highlighting the many aspects of his work: from mechanical production to handicraft, from architecture to industrial design, from furniture to lighting, from the creation of magazines to his forays into the fields of glass, ceramics and goldsmithing. His work exemplified a certain tendency identified by his fellow architect Ernesto Rogers in 1952, an interest in designing dal cucchiaio alla città (“from the spoon to the town”)—giving equal attention and applying the same innovative design thinking to small spoon and skyscraper alike.

Featuring more than 500 pieces, this book traces Ponti’s multidisciplinary journeys through architecture, furniture and design in his work for private homes and public buildings, including universities and cathedrals.

Regarded as one of the most influential architects and designers of the 20th century, Giovanni “Gio” Ponti (1891–1979) established his architectural firm in 1921 and was extraordinarily prolific from that point on, working as an architect, industrial designer, artist, furniture designer, teacher and writer. In 1928 he founded the magazine Domus, which he would direct for most of his life, helping to spread his vision of a revitalized modern aesthetics in Italian industrial production, architecture, interior design and the decorative arts.

Cindy Sherman's Untitled Film Stills, a series of 69 black-and-white photographs created between 1977 and 1980, is widely seen as one of the most original and influential achievements in recent art. Witty, provocative and searching, this lively catalogue of female roles inspired by the movies crystallizes widespread concerns in our culture, examining the ways we shape our personal identities and the role of the mass media in our lives. Sherman began making these pictures in 1977 when she was 23 years old. The first six were an experiment: fan-magazine glimpses into the life (or roles) of an imaginary blond actress, played by Sherman herself. The photographs look like movie stills--or perhaps publicity pix--purporting to catch the blond bombshell in unguarded moments at home. The protagonist is shown preening in the kitchen and lounging in the bedroom. Onto something big, Sherman tried other characters in other roles: the chic starlet at her seaside hideaway, the luscious librarian, the domesticated sex kitten, the hot-blooded woman of the people, the ice-cold sophisticate and a can-can line of other stereotypes. She eventually completed the series in 1980. She stopped, she has explained, when she ran out of clichés.

Other artists had drawn upon popular culture but Sherman's strategy was new. For her the pop-culture image was not a subject (as it had been for Walker Evans) or raw material (as it had been for Andy Warhol) but a whole artistic vocabulary, ready-made. Her film stills look and function just like the real ones--those 8 x 10 glossies designed to lure us into a drama we find all the more compelling because we know it isn't real. In the Untitled Film Stillsthere are no Cleopatras, no ladies on trains, no women of a certain age. There are, of course, no men. The 69 solitary heroines map a particular constellation of fictional femininity that took hold in postwar America--the period of Sherman's youth and the starting point for our contemporary mythology. In finding a form for her own sensibility, Sherman touched a sensitive nerve in the culture at large. Although most of the characters are invented, we sense right away that we already know them. That twinge of instant recognition is what makes the series tick and it arises from Cindy Sherman's uncanny poise. There is no wink at the viewer, no open irony, no camp.

In 1995, The Museum of Modern Art purchased the series from the artist, preserving the work in its entirety. This book marks the first time that the complete series will be published as a unified work, with Sherman herself arranging the pictures in sequence.

Cindy Sherman is a ground-breaking American photographer, born in 1954. She began her "Film Stills" series at the age of 23, gaining early recognition, and has followed it with remarkable experiments in color photography. Her art has won her wide recognition and praise, and been collected and exhibited by major museums throughout the world since 1980. A major retrospective exhibition of her work was shown at The Museum of Modern Art, New York; the San Francisco Museum of Modern Art; the Walker Art Center, Minneapolis; and the Dallas Museum of Art. Sherman is the recipient of a MacArthur Foundation "genius" award and a John Simon Guggenheim Memorial Fellowship. She is represented by Metro Pictures gallery in New York.

The iconic black-and-white photographs of Hamburg-born photographer Frank Habicht (born 1938) reflect the spirit of the Swinging Sixties in London. In the 1960s, the conservative postwar years in England gave way to a period of upheaval, with a younger generation dreaming of an unconstrained life, one full of free love, peace and harmony. On the streets of the British capital, Habicht began photographing the profound social and political changes that were underway.

Habicht, who has lived in New Zealand since 1981, has produced photographs for many international magazines and newspapers, such as the Guardian, Die Welt, Camera Magazine and Twen. His photographs were recently exhibited at the Barbican in London, and he has made portraits of music and film greats such as Mick Jagger and the Rolling Stones, Jane Birkin, Christopher Lee and Vanessa Redgrave.

Frank Habicht: As It Was collects Habicht’s photos from the 1960s in an opulent book. A unique collection of images of the swinging, groovy, hippie and psychedelic ‘60s in London, it offers an eye-opening contribution to the history of a country that is currently undergoing yet more social transformation.

In his latest book, the great American fashion photographer Arthur Elgort presents photographs of women that he has taken throughout his career, in homage to their power, their beauty, their joy and their strength. Depicting a variety of subjects, from young ballerinas at the Vaganova Academy of Russian Ballet in St. Petersburg to snapshots of fashion’s most influential women, this collection portrays many aspects of femininity across generations. Designed in the style of his classic 1994 book Arthur Elgort’s Models Manual (by the same designer, Steve Hiett), and printed on sumptuous matte paper with a vinyl cover, this book combines text and photographs in one seamless flow, deploying a rich range of color with graphic snap. Featured here are idols such as supermodels Gia Carangi, Cindy Crawford, Karen Elson, Linda Evangelista and Christy Turlington, and legendary editors such as Franca Sozzani, the former editor-in-chief of Vogue Italia, and Polly Allen Mellen, a former editor at Vogue, Harper's Bazaar and Allure.

Arthur Elgort (born 1940) studied painting at Hunter College but quickly transitioned to photography, finding painting too slow and solitary. Elgort attributes much of his spontaneous and liberated style to his lifelong love of music and dance, especially jazz and ballet. In his long career he has worked on many major advertising campaigns, including for Chanel, Valentino and Yves Saint Laurent, shot countless fashion spreads and published several books; his most recent publication is Jazz (2018).

A Chicago Tribune 2020 holiday gift guide pick

AfriCOBRA (African Commune of Bad Relevant Artists) was founded on the South Side of Chicago in 1968 by a group of five young Black artists. Today, it is one of the oldest continuously active American art collectives. The pronunciation—Af-FREE-co-bruh—emphasizes the second syllable, signaling the group’s central principle grounded in Black liberation: creative expression reflecting the Black experience and Black influences.

AfriCOBRA’s founding artists—Jeff Donaldson, Jae Jarrell, Wadsworth Jarrell, Barbara Jones-Hogu and Gerald Williams—differed in disciplines and artistic vocabularies but were brought together by the common aspiration to create work that speaks directly to Black people utilizing an identifiably Black aesthetic. This publication celebrates the fifty-year anniversary of AfriCOBRA’s founding and marks the collective’s powerful relevance today. AfriCOBRA: Messages to the People documents two exhibitions curated by Jeffreen M. Hayes, PhD: one at the Museum of Contemporary Art, North Miami, and another as an official collateral event of the 58th Venice Biennale. It features more than 80 works by the original members as well as those by Sherman Beck, Napoleon Jones-Henderson, Omar Lama, Carolyn Mims Lawrence and Nelson Stevens.
More than a historical overview of AfriCOBRA, this book is a response to the artists’ continuing contributions and influence, connecting their works to the contemporary moment through essays, archival photographs and ephemera, exhibition views, and contemporary photographs that celebrate the impact of this revolutionary art collective. As their name states, the artists and artworks of AfriCOBRA were as relevant in 1968 as they are today in the continued struggle for Black liberation.

This book features more than 150 rarely seen images documenting the rise of hip hop in the early 1980s, taken by French photographer Sophie Bramly. Bramly lived in New York during this period and became firmly embedded in the emergent scene. The book features many stunning, intimate images of a star-studded roll call of legendary hip hop figures, all of whom were only just getting known or in their ascendency. These include Kool Herc, Afrika Bambaataa, Grandmixer DST, Jazzy Jay, Red Alert, Grandmaster Melle Mel, Kurtis Blow, Lisa Lee, the Fat Boys, Run-DMC, Beastie Boys and many more.

Bramly knew that hip hop was becoming a cultural force rather than just a musical fashion, and spent many hours photographing the four essential elements of this new world: the emcees, the deejays, the graffiti artists and the break dancers. Here you will see legendary graffiti artists captured at work and play, such as Keith Haring, Dondi, Futura, Phase One, Zephyr and Lady Pink, and break dancers including members of Magnificent Force, Dynamic Breakers and the Rock Steady Crew.

Bramly’s photographs also chronicle the desolate cityscapes from which hip hop emerged; the energy of the fans who first embraced hip hop; and the crucial players behind the scenes (Bill Laswell, Bernard Zekri, Rick Rubin, Fun Gallery co-owner Patti Astor).

Finally, this book also includes a bonus section documenting the rise of hip hop in Europe. Bramly returned to France in 1984 to find herself once again at the center of a new cultural phenomenon, helping bring the first US hip hop artists to Europe, including Fab Five Freddy, Futura 2000, Rocksteady Crew and many more.

This is the first book to gather leading designers, creators and industry insiders to reflect on sneaker design and its groundbreaking impact on popular culture. Contributors provide insights into the evolution of sneakers from sportswear to style icons, the processes and people involved in sneaker design and its global future. Through conversations with the people directly involved in the creation of sneakers, it speaks to the next generation of sneaker designers and wearers by asking: who are the people involved in the design of a sneaker? How do their roles and approaches differ? How does their individual work contribute to the collective effort of making a sneaker? What will the future of sneaker design be?
Richly illustrated, Sneakers Unboxed includes iconic sneakers, drawings, sketches and prototypes, as well as glimpses into the manufacturing process. Across three chapters—Style and Culture, People and Processes, Innovation and the Future—the approaches and experience of industry leaders unfold the past, present and future of sneakers as style icons and cultural facilitators. Contributors turn to the next generation of designers, providing a manifesto to move the industry toward a more positive direction for both the people and the planet.
Designers include: Alexander Taylor, Andrea Nieto, Asha Harper, Ben Cottrell, Benjamin Grenet, Carly McKenzie, Charlotte Lee, Chris Hill, Chris Law, Chris Severn, Daniel Taylor, David Raysse, Franck Boistel, Helen Kirkum, Jacques Chassaing, Jean Khalifé, Jean-Philippe Lalonde, Joe Foster, Juliana Sagat, Kirsten Schambra, Marina Chedel, Matthew Dainty, Muriel Jung, Nic Galway, Nicole McLaughlin, Peter Fogg, Peter Moore, Rian Pozzebon, Romain Girard, Ryan Forsyth, Sam Handy, Samuel Pearce, Samuel Ross, Sara Jaramillo, Stephanie Howard, Steve McDonald, Steven Smith, Susi Proudman, Till Jagla, Tom Astrella and Tuan Le.

Lady Murasaki’s Tale of Genji has delighted readers for more than 1,000 years and inspired writers to create numerous parodies. Artists have responded with a rich parallel tradition illustrating the courtly intrigues, love affairs and shifting alliances of the epic novel, as well as its retellings. This lavishly illustrated volume explores interpretations of the original story and its spinoffs by Japanese master printmakers such as Kunisada, as well as Hiroshige, Suzuki Harunobu and Chobunsai Eishi, bringing the characters to life in dazzling woodblock prints from the peerless collection of the Museum of Fine Arts, Boston.
With insightful commentary from a leading Japanese print scholar, this book invites readers to explore the colorful world of The Tale of Genjiand its visual afterlife.

The saturation of our social landscape by photographs and photographers is apparent from any public point of view. Photography is arguably the most democratic of mediums, even more accessible today across culture and class than language. In some regards, this has been Lee Friedlander’s most enduring subject—the way that average citizens interact with the world by making pictures of it, as well as how those pictures and the pictures constructed for advertising or political purposes define the public space.
In Lee Friedlander: The People’s Pictures we see photographs spanning six decades, most of the geographic United States and parts of Western Europe and Asia. These pictures are uniquely Friedlander photographs: as much about what’s in front of the camera as they are about the photographer’s lifelong redefining of the medium. Like his exploration of words, letters and numbers in the social landscape, these photographs of photography’s street presence seem inevitable to Friedlander’s vast visual orchestration of what our society looks like. But make no mistake, Friedlander’s photographs are not objective documents; they are intentional, authored, playful, intelligent creations made through his unprecedented collaboration with time and place.
Lee Friedlander (born 1934) has published more than 50 monographs since 1969, and has exhibited extensively around the world for the past five decades, including a major retrospective at the Museum of Modern Art, New York, in 2005. Friedlander lives in New York.

Over the course of its 240 pages, Auto Erotica covers the gamut of motoring in Britain during the 1960s, 1970s and 1980s through rare ephemeral booklets full of unusual graphic ideas and concepts. Their fabulous photography, dazzling color charts, daring typography, strange foldouts and inspiring styles symbolize the automobile aspirations of generations of Britons.
Assembled by nostalgia enthusiast Jonny Trunk—author of The Music Library and Own Label—the book is also packed full of era-defining classic cars, from those we love to those we can’t remember. Expect fast Fords, the XJS, the TR8, MGs, Minis, Maxis, Renaults, Beemers, VWs, Vivas, Citroëns, DeLoreans and a whole lot more: amazing motorcars from the past, and even some from the future, as you've never seen them before.
Jonny Trunk is a London-based artist, collector, broadcaster, writer and archivist whose work is centered around nostalgia. In 1995, Trunk founded Trunk Records, specializing in film scores, old advertising jingles, art, sexploitation and kitsch releases. Trunk’s previous publications include Wrapper’s Delight, The Music Library, Own Labeland Wobbly Sounds.