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Midnight
Photographs by Arlene Gottfried
During the summer of 1984, photographer Arlene Gottfried met Midnight, the man who was to become both a close confidant and the subject of her photography as she documented the next two decades of his life.
At first, Midnight was a handsome and charming companion who danced and performed at nightclubs. But as time passed, he began to behave in an increasingly bizarre fashion, including being rescued by police at the top of the Williamsburg Bridge and a stint at Bellevue Hospital. Soon after being diagnosed as a paranoid schizophrenic, what followed were years of auditory hallucinations, self-mutilation, and other extreme behavior. Despite the endless cycles of hospitalization, jail, counseling, medication, and sudden disappearances, Gottfried stood by Midnight, who ended up for a time in a men’s shelter.
A visual journal of simple yet gripping portraits revealing the ravages—and redemption—of time, Midnight is shockingly intimate and profoundly touching. Gottfried shows Midnight in his many modes: playful and coy, straightforward and self-conscious, wild-eyed and distant. Gottfried’s images reveal an individual wavering perilously between states of lucidity and madness, mutating between youthful abandon and age-affected disorientation and back again in a frighteningly few short years. The elasticity with which Midnight absorbs such radically different personas and age-based appearances before our eyes perhaps has never been documented before, and surely not with such intense penetration into one individual’s bafflingly elusive psyche.
“The photographs make me sad because I know what a warm, gentle, intelligent soul Midnight is, and I also know how he suffered.”
—Arlene Gottfried
More about Arlene Gottfried
Photography/Portraiture
Hardcover, 7.57 x 11.25 inches, 128 pages, 98 four-color photographs
ISBN 1-57687-166-5, $45.00
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Lapdancer
Photographs and interviews by Juliana Beasley
Determined to supplement her meager income as a novice photographer, Juliana Beasley embarked on an eight-year odyssey as a professional nude dancer, specializing in “lap dances,” during which a woman dances above a seated customer, erotically brushing against his body. From New York to Reno, Beasley worked in over two dozen strip clubs, dancing for twenty dollars a song, experiencing the rewards and pitfalls of the profession: variable income, flexible schedules, emotional and physical exhaustion, sex industry camaraderie—and an arrest for prostitution.
Though she was a professional dancer, Beasley never forgot the purpose of her studies in documentary work. Along with negligees and stilettos, she regularly brought a camera to the clubs, and began recording testimonies from the managers, dancers, and patrons. The result is Lapdancer, an inside look at the world of professional nude dancing. Culled from thousands of photographs and hours of interviews, Beasley documents an oft-derided but rarely understood culture—one tightly codified by rules and behavior, and peopled with characters from a David Lynch film.
Through these pictures and interviews Beasley, a sex industry Virgil, guides us through the erotic dancer circuit, detailing its ruthlessly economic underpinnings and the intimate, anonymous currency between dancer and customer. Here, at what was once society’s fringe, Beasley depicts mainstream culture’s new evolving definitions of sexuality, gender politics, capitalism, therapy—even love.
More about Juliana Beasley
Photography/Sex Industry/Current Events
Hardcover, 7.825 x 10.25 inches, 160 pages, 152 four-color photographs
ISBN 1-57687-139-8, $35.00
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Sneak Preview
$35.00
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Sicilian Passage
Photographs by Thomas Roma
Introduction by Sandra Phillips
Afterword by Anna Roma
“Sicilian Passage is a timeless view into a landscape and its people. Thomas Roma’s eloquent photographs of Sicily are like beautiful poems about a land that he loves.”
—Mary Ellen Mark
Sicily: a land of mystery and myth. Inspired by stories told by his mother’s family, famed documentary photographer Thomas Roma left his native Brooklyn for Sicily in search of his roots in 1977. Photographing abroad on a Guggenheim Fellowship, Roma spent months at a time over the next fourteen years traversing the island, challenging himself to connect with a culture and a lifestyle completely foreign to his experience as a New York City street photographer.
In Sicilian Passage, Roma taps into the timeless essence of Europe’s agrarian past. His photographs of the familial homeland are untainted by stereotypical notions of Sicilian culture. Instead of old ladies in black veils gossiping on the stoop, Roma’s images are lyrical odes to the country pastoral. Through his lens, we are transported to another land where nature and the climate have tamed its inhabitants into a slower rhythm: gnarly ancient trees grow haphazardly in the crop fields; marble ruins erupt from the hillsides; shirtless young shepherds tend to their flocks under a ruthless Mediterranean sun. Sicilian Passage is an ode to the mysteries of the timeless in “The Island in the Sea of Light.”
“Tom told me that as a child he used to try to dream of Sicily as he drifted off to sleep. Lying in bed, he’d picture mountains that were higher than the Berkshires he had seen in upstate New York, and a sea that was bluer than it was at the beach at Coney Island. He’d imagine a place where the sun was brighter and where figs grew bigger and sweeter than they did in his grandparent’s backyard in Brooklyn. Sicilian Passage is an attempt to reimagine that dream.”
—Anna Roma
Exhibition at The New-York Historical Society, July — October 2002
More about the authors.
Photography/Travel
Hardcover, 9.5 x 7.75 inches, 84 pages, 52 duotone photographs
ISBN 1-57687-164-9, $25.00
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Here and There
Photographs by Helen Levitt
Foreword by Adam Gopnik
“…Helen Levitt is one of the living treasures of New York, widely admired for her devotion to candid street photography in a style influenced by Henri Cartier-Bresson and Walker Evans….[Her] vignettes of domestic, daily city life, taken on the Lower East Side and in Harlem, are a form of poetry that evokes the fortitude and forbearance of New Yorkers past and present.”
—Andy Grundberg, The New York Times Book Review
Selected as the best photography book of 2001 by The New York Times Book Review, The Village Voice, and Photo-Eye, among others, Helen Levitt’s magnum opus Crosstown (powerHouse Books 2001) all but sold out of its one and only, six-thousand–copy print run.
Sure to follow in its footsteps is Levitt’s new collection of personally-selected images, Here and There, a charming monograph featuring over ninety never-before-published photographs, including portraits of her friends James Agee and Walker Evans. The recently discovered photographs featured in Here and There represent Levitt’s own favorite images selected from her immense private collection. Shot over seven decades, Here and There reveals Levitt’s acute sense of how cosmetically street life has changed—and how substantially it has remained the same. The sheer determination of this inimitable photographer to walk the streets of her beloved city for this length of time and take pictures of what she sees reaffirms her unofficial status as New York City’s visual poet laureate.
“[Levitt’s photographs] have the quality of frozen street-corner conversation: she went out, saw something wonderful, came home to tell you all about it, and then, frustrated, said, ‘You had to be there,’ and you realize, looking at the picture, that you were.”
—Adam Gopnik, The New Yorker
More about Helen Levitt and Adam Gopnik
Photography/New York City
Clothbound, 9.5 x 8.5 inches, 120 pages, 110 tritone photographs
ISBN 1-57687-165-7 |
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Foro Italico
Photographs by George Mott
Introduction by Giorgio Armani
Essays by Luigi Ballerini and Michelangelo Sabatino
“Italian sport must aim at preparing young Italians to be physically and morally able to fight.”
—Mussolini
Boasting to everyone that his forum would be grander than the Colosseum, Mussolini created the Stadio dei Marmi, or Stadium of Statues, an arena built outside Rome for the 1944 Olympic Games that were postponed by World War II. Believing a fascist state required the top level of physical fitness, Il Duce provided inspiration for his nation in the form of monumental art, commissioning sculptors from all over the country to create sixty Herculean statues of white marble to be put atop six-foot pedestals surrounding the stadium. The statues, based on figures from Italian war memorials, embodied the glorification of the athlete and the mannered heroism of the soldier. Startlingly erotic and poetic, each statue stands twelve feet tall, nude but for the occasional headband or sandals. So blatant was their sexual presence that the statues later provoked furtive attempts at “decency” involving fig leaves and loincloths.
Once relegated to the category of political kitsch, these statues have, in recent times, been re-evaluated and are being recognized as objects of beauty and merit. “The Foro Italico…sustains a guileless, perhaps unique, male eroticism which is at odds with the grandiloquent intentions of its planner and creators in Mussolini’s fascist regime,” explains George Mott, who first glimpsed the statues in 1962 and photographed them twenty years later. His black-and-white and color images of the statues have been sought by collectors in Europe and America, and have been used repeatedly by fashion designers and art directors. In Foro Italico, for the first time, these photographs are being shown collectively, exquisitely reproduced in a remarkable, deluxe, slip-cased edition that includes an introduction by Giorgio Armani, himself a connoisseur of 1930s art and architecture.
Giorgio Armani to Host Exhibition and Book Launch
More about the authors
Photography/Art History/Gay Studies
Slipcased Hardcover, 9.75 x 13.625 inches, 64 pages,15 four-color and 16 black-and-white photographs
ISBN 1-57687-169-X, $50.00
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Pictures I Had To Take
Photographs by Joel Grey
Introduction by Duane Michals
Art Direction by Sam Shahid
“Being an actor and in the public eye, this…was a private act that could (should I choose) be shared with others.…As long as I can remember, I’ve loved taking photographs. It was always a complete and spontaneous pleasure for me, ‘Oh my God, look at that!’ I never thought about a tripod, zoom, or light meter. It was never work, only satisfaction. Looking…observing...recording...reflecting. Acts unspoiled by ambition, expectation, or competition.”
—Joel Grey
Pictures I Had to Take, the first monograph by acclaimed actor Joel Grey, is a highly personal visual memoir of Grey’s experiences while living and traveling in Europe, Asia, South and Central America, and the United States over the last twenty-five years. Separate and apart from his theater and film work, Grey exhibits for us images that he was compelled to remember and record—the pictures he “had to take.” Whether focusing his camera on a serene golden Buddha or on a majestic vista of misty Incan ruins, we can sense Grey’s delightful sense of wonder and joy in the detail and the magnificent on each page, guiding us through a quarter-century of intensely felt observations.
More about the authors.
Photography/Art
Hardcover, 10.25 x 12.75 inches, 152 pages, 93 four-color photographs
ISBN 1-57687-168-1. $60.00
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Spirits and Ghosts
Journeys Through Mongolia
Photographs by Julia Calfee
Introduction by Antonin Kratochvil
Spirits and Ghosts: Journeys through Mongolia delves into the transitions and changes in Mongolia since 1996, addressing the issues and problems of this country that is still steeped in the murkiness of the post-Communist era, and awkwardly adapting to a new democratic system. Calfee documented the role of shamanism and ritual in this mysterious land, participating in the winter migration of a female shaman and her family over the mountains, sleeping on ice-covered fields at –40° C, and taking photographs of her private séances, rarely seen by anyone outside of this exclusive nomadic culture.
Calfee also spent years documenting the social ills of this little-understood East-Central Asian republic, spending days and nights in different prisons with adolescents, women, alcoholics, murderers, and many innocent people. Whether exploring the work camps that have not changed since Stalin’s time, makeshift strip-mining conditions, rampant alcoholism, or the general hopelessness of urban life in the capital, Calfee’s unflinching and haunting images leave a strong sense of correspondence between social problems and the dark spirituality of this troubled land.
More about the authors.
Photography/Shamanism/East Asian Studies
Hardcover, 8.9 x 11.55 inches, 168 pages, 76 duotone photographs
ISBN 1-57687-167-3, $35.00
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The Last Sunday in June
Photographs by Jamel Shabazz
Essays by Kelefa Sanneh and Emil Wilbekin
On the last Sunday in June, New York City celebrates Gay Pride Month by staging a parade of floats showboating south down Fifth Avenue to Christopher Street. Originally staged to celebrate the anniversary of the Stonewall Riots of 1969, which mark the birth of the Gay Pride movement and the eventual recognition of rights for gays and lesbians, Gay Pride Month now takes over the West Village and Chelsea for the entire month of June, culminating in a parade that attracts close to a million people of all genders, sexualities, ethnicities, and classes. The four-on-the-floor thump of house music pumps as caravans of divas, boob-flapping biker gals, and costumed creatures preen, primp, and pucker for cameras and spectators on the street. Equally colorful is the crowd, clapping and cheering for the performers before parading about town themselves.
As a follow-up to his crazy successful, fashion and pop culture-influencing book of hip-hop’s early dayz, Back In the Days, photographer Jamel Shabazz takes a sharp turn in bringing to light a vastly original—and under-documented—emerging subculture in Last Sunday in June. Drawing from an enormous cast of eye-catching characters, Shabazz showcases an extraordinary collection of luscious lesbians, tasteful transsexuals, and dramatic drag queens done up in their Sunday best to celebrate Gay Pride.
More about the authors.
Photography/Gay Studies/Fashion
Hardcover, 7 x 9.7 inches, 128 pages, 101 four-color and black-and-white photographs
ISBN 1-57687-172-X, $35.00
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Body Parts
An Artist’s Book by John Coplans
Following the attacks of September 11, artist and downtown resident John Coplans responded unconsciously to the disaster by making photos of his arms and legs and then collaging the two together into one image. After making four such images, Coplans realized the connection to the aftermath of the event, where workmen were digging up debris and constantly finding human remains, especially body parts.
At the same time, Coplans’ problems with his eyesight were exacerbated; he was unable to see facial features, and he could neither read nor focus. The days became dark, somewhat like dusk, but worse. For some time, his left eye had been useless because of Macular Degeneration; now, the same thing was happening to his right eye. Yet Coplans could still see flat images the size of a postcard fairly distinctly with the aid of a magnifying machine, and decided to continue working on Body Parts.
Since he could not see, the question arises as to how Coplans could take these photographs. In fact, he had not taken any of the images himself since he first began making the various “Self Portrait” photographs in 1984. Coplans would preview the pose with a video camera connected to a television set and have an assistant do the actual shooting. But once his eyesight had been severely diminished, this system became useless and he had to find another.
For Coplans, the solution came from recognizing the fact that we don’t actually see an image with our eyes—we perceive it with our minds. He then applied this concept to the process of making photographs for Body Parts; Coplans imagined the image in advance and then found the pose. In the past when he could see, it was necessary to take many photographs to match the image on the video, but now it was done in a single shot to get the first half of the image; then his assistant would take the complimentary pose. Very often this was accomplished on the first take with assistant Bradford Robotham. Together with A Body (pH, 2002), Body Parts forms the complete Coplans’ oeuvre.
More about John Coplans
Art/Photography/Artists’ Books
Hardcover, 11.25 x 8.75 inches, 64 pages, 25 duotone photographs
ISBN 1-57687-173-8, $25.00
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No Title Here
Photographs by Jeff Mermelstein
Introduction by Marvin Heiferman
“[Jeff Mermelstein is] one of the great snapshot artists of all time, right up there with Garry Winogrand, Elliott Erwitt, Burke Uzzle, and Lee Friedlander.”
—Glenn O’Brien, Artforum
In 1981, Jeff Mermelstein began taking trips to Asbury Park, New Jersey, where he gravitated toward the abundant supply of bizarre characters populating this town made famous by Bruce Springsteen. Drawn to the seedy atmosphere and entranced by the taffy-rich colors, Mermelstein was mesmerized by the sights: a pink lady at a baby parade, a startled bag lady dressed in red, a cat-show judge named Mr. Friend.
Things kept getting stranger for Mermelstein, whose first magazine assignment was to photograph animal actors, including legendary four-pawed performers Morris the Cat, Lassie, Benji, the Merrill Lynch bull, the Exxon tiger, and Zippy, a performing chimp. “I still feel the excitement of hugging Zippy,” Mermelstein has noted, “and watching and photographing him in his bus as he entertained at a Bar Mitzvah on Long Island.”
Inspired by these encounters with the odd and unusual, Mermelstein began to vigorously prowl the streets of New York City during the mid-80s with some Kodachrome and a flash, snapping up scenes of vivid color, glitz, and plastic artifice. Attracted to the surreal, Mermelstein continued to document outlandish scenes, whether on magazine assignments or on adventures of his own devising—dog shows, promotional events, and grand openings of malls across this far-too-colorful-for-words land.
No Title Here catalogs the results of the past twenty years Mermelstein has spent photographing the wacky, the quirky, the off, and the oddly lyrical that he has encountered across America.
More about the Jeff Mermelstein and Marvin Heiferman
Photography/Humor
Hardcover, 12.25 x 8.25 inches, 128 pages, 75 four-color photographs
ISBN 1-57687-170-3, $45.00
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Flower Album
by Dietmar Busse
Preface by Anna Sui • Foreword by Sarah Brown
Essay by Tom Breidenbach
Botanical text by The New York Botanical Garden
“‘What I know about beauty is that I’m terribly attracted to it and I can’t stop looking at it once I find it.’ This is what Dietmar Busse told me. Beauty, he continued, ‘…is in animals, people, plants, and certain moments.’ Those moments are what he has captured in this book. It is his Flower Album—a collection of recorded moments in which flower petals, leaves, stalks, and stems are reconfigured into new flowers—imagined flowers—that adorn the artist’s own body as armor of the sweetest kind.”
—Sarah Brown
When fashion, nature, and art collide, magical things can happen. Flower Album is a remarkable art monograph by noted fashion photographer Dietmar Busse, in association with Saks Project Art and the New York Botanical Garden. This highly original collection of portraits and paintings uses a wide variety of flowers and blossoms. The stunning mix of vivid petals includes irises, tulips, roses, and sunflowers, along with enormous tropical lilies, orchids, and wax leaves, which serve as the artist’s material.
Busse’s body, dramatically primed from head to toe in chalky white or sometimes black paint, is his canvas. Leg, torso, foot, and face are covered with petals and magically transformed into breathtaking and hauntingly beautiful creations. At once whimsical and mysterious, each page of Flower Album brings a new revelation. Busse brilliantly combines the inventive playfulness of a John Galliano gown and the plant lover’s appreciation for the fleeting beauty of nature, with an artist’s insight into global art traditions.
The result is a compelling book as much about the playful world of fashion and beauty as it is piercing drama about the darker side of the soul. The breadth and boldness of Busse’s vision will surprise, delight, and provoke fans of fashion, flowers, and art alike.
“A flower erupts into a flurry of color. Colors define patterns. The pattern will become the basis for design. Reassembling the parts of the flower to create a visual pattern and the use of the human body as the background for the visual imagery creates a seldom seen energy, a virtual ‘floral’ fashion show.”
—Anna Sui
More about the authors
Photography/Fashion/Nature
Hardcover, 8.25 x 10.25 inches, 80 pages, 36 four-color photographs
ISBN 1-57687-175-4, $25.00
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There is No Eye
Now in Paperback!
Photographs and stories by John Cohen
Introduction by Greil Marcus
NEW Preface by Patti Smith
Art Directed by Yolanda Cuomo
“You are right John Cohen—Quasimoto was right.…There is no eye—there is only a series of mouths—long live the mouths—your rooftop—if you don’t already know—has been demolished….”
—Bob Dylan
“There is a saying that the treasures of the universe may be found between the eyes of a horse. One could say that the treasures of the earth may be found between the eyes of John Cohen. For we find in the images offered by this humble man, the wisdom of simplicity—its music, and its silence.”
—Patti Smith
Be it in the Peruvian Andes, in Kentucky bluegrass country, in the Gospel churches of Brooklyn, or in Greenwich Village with Bob Dylan and the Beats, famed musician John Cohen’s vision transcends history, even while it distills the spirit of a period and a place. There is No Eye, Cohen’s first monograph, is a guided tour through the worlds of outsider artists, poets, and musicians. Cohen’s lyrical stories of the cultures he has encountered complement his photographs taken over the past five decades.
Featuring never-before-seen photographs of legendary Beat generation icons, from literary lions Jack Kerouac, Allen Ginsberg, and Gregory Corso to artists and photographers Grace Hartigan, Franz Kline, Red Grooms, and Robert Frank, and a panoply of American Roots musicians, from Bob Dylan, Woody Guthrie, and Muddy Waters to Doc Watson, Elizabeth Cotton, and Roscoe Holcomb, There is No Eye captures some of the most influential artists of our time.
“You can look at John Cohen’s There is No Eye and see through very familiar eyes: the New York City eyes of Helen Levitt and Walker Evans, Evans’ country eyes, the highway eyes of Robert Frank, even Margaret Bourke-White’s doubting eyes in Holiness churches…John Cohen’s argument is that the picture exists outside the photographer’s intentions, or even his desires….Up against these eyeless pictures, those of Evans, Frank, Levitt, and Bourke-White can seem almost propagandistic. That is, they make arguments; you are aware the photographer wants to tell you something, to convince you of something, to accept a certain point of view. Here there is no point of view. There is something else; I don’t know what to call it, so I won’t try.”
—Greil Marcus
If you liked the soundtrack to O Brother, Where Art Thou? you will love the real thing, Cohen’s “There is No Eye: Music for Photographs,” available on compact disc from Smithsonian Folkways Recordings.
More about the authors
Hardcover Edition
Photography/Folk Music/Beat culture
Clothbound, 8.125 x 11.125 inches, 200 pages, 127 duotone and 39 four-color photographs
ISBN 1-57687-107-X, $45.00
Paperback Edition
Photography/Folk Music/Beat Culture
Paperback, 7.875 x 10.875 inches, 200 pages, 127 duotone and 39 four-color photographs
ISBN 1-57687-171-1, $29.95
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Hardover—Buy Me
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New York’s Bravest
Eight Decades of Photographs from the Daily News
Text by Patrice O’Shaughnessy
Edited by Shawn O’Sullivan
On September 11, the world was shown the face of bravery. As one woman so poignantly put it: “As we ran out, they ran in.” These heroes were doing the job they do each day, protecting more than eight million residents in the 320 square miles that is New York City. That horrible day, we were made heartbreakingly aware of the risks these people take daily, risks their loved ones knew all too well.
First-hand witnesses to the heroism of the FDNY, the photographers of the Daily News knew these risks too. They have been covering the life and death situations—the human drama that fire creates—since the founding of the the Daily News in 1919.
These seasoned photographers of the Daily News have chased fire trucks in their radio cars since the earliest days of photojournalism, photographing children and animals being rescued from burning buildings and capturing the disbelief on the faces of those gazing at the remnants of their lives going up in smoke. These photographers know intimately the faces of those left behind from covering the all too many funerals, mourning with the families a loss that felt not only across a city of millions, but also acutely within a deeply bonded fraternity across the country.
Culled from the archive of the Daily News, consisting of more than six million images, this book represents more than eighty years of the world renowned New York City Fire Department in action, fighting fires, rescuing lives, and bringing peace and order to chaos, fear, and destruction.
In the Fire Department of New York, there are more than 11,400 Fire Officers and Firefighters. In addition, the FDNY includes 2,800 EMS and Paramedics personnel. This book is a tribute to their dedication, bravery, and humanity.
More about Patrice O’Shaughnessy and Shawn O’Sullivan
Photography/History/Firefighters/New York City
Hardcover, 8.75 x 11.25 inches, 168 pages, 139 four-color and black-and-white photographs
ISBN 1-57687-158-4, $29.95
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Pilgrimage
Looking at Ground Zero
Photographs by Kevin Bubriski
Afterword by Richard B. Woodward
In the weeks immediately following September 11, Kevin Bubriski made four pilgrimages to the World Trade Center site from his home in Vermont to witness and record the impact of the tragedy. Like so many who had experienced the events from a distance, Bubriski was driven to visit Ground Zero in an attempt to come to terms with the horrifying scenes reported on television and in the papers. At the barricades surrounding the site, Bubriski found people experiencing not only a remarkable sense of community, but also the deepest kind of personal reflection on loss and mortality. Businessmen, teenage friends, families, young lovers, and visitors from around the world approached the site slowly, and eventually came to a full stop, planting their feet firmly as if to keep themselves from wavering or falling. Each visitor then began a moment of quiet reflection, staring off at the mountainous ruins of twisted steel and debris amidst an omnipresent swirl of acidic smoke. It was at this time that the reality of the devastation set in.
“[Bubriski’s] photographs are among the most shattering to come out of the event, and the quietest. By keeping his focus on the stunned faces of individuals within a crowd, he has captured a series of private moments within a mass demonstration of surging, national grief. Everyone in the city during those confusing days will recognize the look and remember the feeling all too well.”
—Richard B. Woodward
Exhibition at The New-York Historical Society, July–October 2002
More about Kevin Bubriski and Richard B. Woodward
Photography/Current Events
Hardcover, 9.75 x 11.25 inches, 96 pages, 78 duotone photographs
ISBN 1-57687-146-0, $35.00
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Arms Against Fury
Magnum Photographers in Afghanistan, 1941–2004
Edited by Robert Dannin
Arms Against Fury examines the dramatic struggle of the Afghan people through the lens of Magnum photographers, dating back to co-founder George Rodger’s documentation of the country’s role in World War II. Ever since, Magnum’s intrepid photographers have crisscrossed the country’s striking landscape from the Central Asian steppes to the parched southern desert by way of the Hindu Kush mountains surrounding Kabul and the adjacent Panjshir Valley.
As early as the 1950s, Eve Arnold and Marc Riboud filed unprecedented stories from a legendary Shangri-la, showing a small kingdom struggling for statehood against the forces of underdevelopment and unfortunate geographic position during the Cold War. The ultimate overthrow of the monarchy and brutal liquidation of Afghanistan’s constitutional government in 1978 heralded the arrival of Soviet-style communism. Peasants in Nuristan rebelled immediately and initiated a jihad that was covered first by Raymond Depardon and then by Steve McCurry, and later by renowned photojournalist Abbas, who also focused on the progress of the mujahedin, who eventually faced a massive Red Army invasion and savage aerial bombardments.
The victory against the Soviets also signaled the beginning of a civil war that began in 1992. Documented by Luc Delahaye, Christopher Steele-Perkins, Abbas, and Steve McCurry, Afghan militias destroyed large swathes of Kabul. The Taliban militia subdued warring factions in 1996 and proclaimed an Islamic emirate. Steele-Perkins was one of the few journalists to report from Afghanistan during this period of theocratic tyranny. In the wake of the September 11 attacks on the United States, the hated Taliban were shaken from power by a loose alliance of mujahedin backed by American forces. Yet nothing seemed to remedy the miserable spectacle of a ruined country littered with ten million land mines and thousands of innocent victims of the hi-tech war on terror.
The future of Afghanistan, as depicted by Abbas, Eve Arnold, Luc Delahaye, Thomas Dworzak, Alex Majoli, Steve McCurry, and Francesco Zizola, remains uncertain at best.
Containing additional photographic work by Ian Berry, Elliott Erwitt, Stuart Franklin, Philip Jones Griffiths, Susan Meiselas, and Wayne Miller; commentary by the photographers; and several illustrated essays, Arms Against Fury will become an indispensable reference for documentary studies, social history, and critical photography.
More about Robert Dannin and Magnum Photographers
Photography/Current Events
Hardcover, 8.75 x 11.25 inches, 240 pages, 110 four-color and 132 black-and-white photographs
ISBN 1-57687-151-7, $49.95
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The Blue Jean
By Alice Harris
With Bob Morris
The Blue Jean is a long-overdue appreciation of this iconic piece of clothing, and issure to appeal to anyone who has ever worn a pair of jeans. That means young and old, male and female, famous and normal alike. Ranging from the early days when miners wore them for protection and durability to today’s hottest movie stars and singers, jeans have always covered our asses with practicality, style, and affection. It would be ne’er impossible to find in the world over a single person who doesn’t own at least one pair of dungarees in one form or another.
Whether worn by presidents or punks, cowboys or congressmen, actors or contractors, hippies or hard rockers, blue jeans have steadfastly continued to symbolize all-American virtues: freedom, independence, and the pursuit of self-expression. The Blue Jean proudly celebrates this magnificent heritage with 136 stunning color and black-and-white documentary, fashion, and art photographs (many rarely seen before) of denim-clad personalities, cultural giants, and pivotal milestones from the forties through today. The Blue Jean is a fascinating journey of rediscovery, in pictures and words, of our history with jeans and our love affair with them.
Includes pictures by •Peter Beard •Ellen Von Unwerth •Danny Lyon •Bruce Weber •Helmut Newton •Ansel Adams •Santo D’Orazio •Bruce Davidson •Edward Weston •Lauren Greenfield •David LaChapelle •Larry Fink •Dorothea Lange •Kurt Markus •Eve Arnold •Mike Disfarmer •Wayne Miller •Harry Benson •Edward Steichen •Charles Peterson •Robert Mapplethorpe •Jack Pierson •Mark Shaw •Carter Smith •Gordon Parks •Larry Sultan to name but a few.
Author royalties from The Blue Jean will be donated to VH1 Save the Music Foundation to restore music education programs in America’s public schools and to raise awareness of the positive impact that music participation has on students.
More about Alice Harris and Bob Morris
Fashion/Pop Culture/Celebrities
Hardcover, 9.75 x 12.25 inches, 144 pages, 41 four-color and 95 black-and-white photographs
ISBN 1-57687-150-9, $35.00
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Clown Paintings
By Diane Keaton
With texts by America’s top comedians and clowns: Woody Allen, Candice Bergen, Sandra Bernhard, Carol Burnett, Chevy Chase, Ellen DeGeneres, Phyllis Diller, Whoopi Goldberg, Bob Goldthwait, Goldie Hawn, Eric Idle, Don Knotts, Lisa Kudrow, Jay Leno, Garry Marshall, Penny Marshall, Steve Martin, Paul Reubens, Joan Rivers, Garry Shandling, Martin Short, Dick Van Dyke, John Waters, Robin Williams, Jonathan Winters among others!
A Lookout Book
“Over the years, I have picked my way from one obsession to another at the monthly Pasadena Rose Bowl Swap Meet in an undefined effort to shed light on the overlooked. Five years ago, I started to collect paintings most people hate. Works of such sappy sentimentality it’s impossible not to picture the painter’s tear drops mingled with his brushstrokes as he stands in front of the masterwork: a work completed in the grand tradition of the justifiably labeled ‘ugliest genre of them all’: clown paintings.”
—Diane Keaton
The world needs its clowns. It’s the clowns of society who make us laugh—sometimes—and who help us view our lives with greater clarity and perspective. Bigger than life, with their exaggerated features and makeup, dressed in their gaudily mismatched and hilariously oversized outfits, clowns refuse to be overlooked. And yet, the portrait of the clown has been all but ignored. Trained to respond respectfully to serious portraiture, we try to read meaning into their big mouths, prosthetic noses, and unruly tufts of hair. Ultimately, the paintings are mysteries: what did amateur artists, who lavished so much time on these iconic images, hope to capture and accomplish?
Clown Paintings is a twisty little illustrated book that showcases sixty-five outrageous and compelling clown portraits, painted by amateurs and selected by actor/director Diane Keaton. By turns hilarious and heartfelt, joyful and mortifying, these artworks were collected over the years by Keaton, who found herself as mesmerized by their mute eloquence as she was by their bad taste. It’s easy to see what drew Keaton to them. They embody contradiction; they’re fabulous and horrible, hysterical and dignified, generic yet absolutely specific. And above all—in the grand clown tradition—way out there. The clowns, from whom we expect mischievous, out-of-control behavior, are painted as solemn and decorous subjects to contemplate. Instead of distracting us with brooms, squawking horns, rubber mallets, and slapstick humor, we get the chance to look at them carefully—and to consider how they not only make us laugh, but how they allow us to look more closely at ourselves. And to contemplate the abyss.
More about Diane Keaton
Art/Pop Culture/Comedy
Hardcover, 9 x 12 inches, 128 pages, 65 full color illustrations
ISBN 1-57687-148-7, $29.95
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PREVIEW THE BOOK!!
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First Photographs
William Henry Fox Talbot and the Birth of Photography
Texts by Michael Gray, Arthur Ollman, and Carol McCusker
“I do not profess to have perfected an art, but to have commenced one, the limits of which it is not possible at present exactly to ascertain. I only claim to have based this art on a secure foundation….It will be a far more skilled hand than mine to rear the superstructure.”
—William Henry Fox Talbot
First Photographs is an extraordinary view into the origins of photography. This landmark monograph—the only book on Talbot to be authored by the Fox Talbot museum’s curator—includes many never-before-published images of landscapes, architectural studies, and portraits from Talbot’s personal archive and selections from his detailed research notebooks made during the 1830s and 1840s and currently housed at Lacock Abbey in Chippenham, England.
A gentleman and an intellectual, Talbot was a great student of the Arts and Sciences and kept detailed notes of his activities and experiments. He discovered the negative/positive paper process which made multiple reproductions of a single image possible, and which distinguished it from its contemporary, the one-of-a-kind daguerreotype. Talbot first announced his invention to the public in 1839 in his paper, “An Account Of The Art of Photogenic Drawing Or The Process By Which Natural Objects May Be Made To Delineate Themselves Without The Aid Of The Artist’s Pencil.” The work he did during this time established, in principle and in practice, the foundation of modern photography—the basis of the process that is still used today.
In addition to Talbot’s technological contributions, his photographs represent exceptional artistic achievement. First Photographs includes a significant text by the preeminent Talbot scholar today, Michael Gray, who provides a comprehensive essay, biography, and timeline of Talbot’s eventful life and revolutionary work. Arthur Ollman, director of the Museum of Photographic Arts, San Diego, gives an in-depth analysis of the aesthetic and social significance of Talbot’s first image, “Oriel Window.” Curator Carol McCusker considers how the Romantic Movement and the women of the Lacock household influenced Talbot’s aesthetic choices. First Photographs and the accompanying exhibition provide a rare opportunity for contemporary audiences to experience these uncommon images and the personal, cultural, and scientific contexts in which they were made.
William Henry Fox Talbot (1800-1877) was a philosopher, classicist, Egyptologist, mathematician, philologist, transcriber and translator of Syrian and Chaladean cuneiform texts, physicist, and photographer. His first experiments in photography made use of the photogenic process; he then went on to develop the process of creating negatives that could be used to make positive reproductions.
More about Michael Gray, Arthur Ollman, Carol McCusker
Photography/Art History
Hardcover, 9.25 x 11.5 inches, 144 pages, 98 four-color photographs
ISBN 1-57687-153-3, $45.00
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Pictures of Paintings
By Richard Misrach
Introduction by Weston Naef
Text by Navjotika Kumar
A Blindspot Book
What do paintings signify in an age of photographs? How do photographs modify the visual language of paintings? Richard Misrach's Pictures of Paintings showcases photographs of select museum masterpieces. Working primarily in the art museums of the American West, along with The Metropolitan Museum in New York and the Israel Museum in Jerusalem, he photographed details of paintings to reexamine the details, not so much as a guide to the artist’s style or technique, but as a means of understanding a lexicon of cultural values, among them race, gender, religion, and power. By collapsing the barriers between the traditional practice of documentation and the recent strategies of appropriation art, these photographs raise important questions regarding representation itself. This publication marks the first comprehensive compilation of this significant body of work.
Blind Spot Books, a division of Blind Spot Inc. (publisher of the premiere art photography magazine Blind Spot), is now partnering with powerHouse Books to produce elegantly designed, sumptuously produced works of artistic and literary significance. Founding Blind Spot editor and publisher Kim Zorn Caputo will use the same uncompromising production standards and the finest printing available for the series. Each book will be treated as a creative medium that celebrates the integrity of the best in art and literature.
More about the the authors
Photography/Art History
Clothbound, 13.25 x 11.25 inches, 138 pages including 4 multipage gatefolds, 75 four-color photographs
ISBN 1-57687-147-9, $85.00
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Special collector's edition
now available
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Zack Carr
By George Carr
Art Direction by Sam Shahid
“He may have been a man who experienced most of his career behind the scenes, but the impact that Zack Carr had on the fashion industry could have rivaled that of any big-name designer.” —Women’s Wear Daily
“Zack was a true creator and a gentleman. His contributions here—and to fashion in general—were numerous and unique. His contributions to the world of design were enormous. With his death, we have lost a true treasure.”
—Calvin Klein
As the creative director of Calvin Klein, where he worked for nearly three decades, Zack Carr helped develop the house into one of the premier forces in fashion worldwide. His premature death from cancer in 2000 cut short a life and career that indelibly altered the status of American fashion and that, more than any other, helped stamp it “The Look” and “Lifestyle” to which so many across the globe aspire. As a tribute to Carr’s life and legacy, his brother George Carr and famed designer Sam Shahid have compiled an exquisite collection of photographs, sketches, and selected writings that make Zack Carr an indispensable reference volume for aestheticians and people of taste, whether of town or country.
Born and raised in Kerriville, Texas, Carr began his career working for B. Altman & Co and manufacturer Donald Brooks before joining Calvin Klein in the early ’70s. He left Klein in 1984 to launch his own company, the Zack Carr Collection, but returned in 1988 to work there until being diagnosed with Poem’s Syndrome, a rare paralyzing blood cancer. Despite the illness, Carr continued to create, and, as the paralysis spread through his body, had to re-teach himself to draw. In his sketchbooks, Carr would paste cut-outs of his sketches, his “dolls” as he called them, alongside his inspirations—a Horst postcard here, a paparazzi snap of Carolyn Bessette there. Carr considered his sketchbooks to be “what I consider a true expression of myself…my being…what interests me, what excites me, what is me…and what is my true being.”
“Zack took me somewhere—physically, geographically, emotionally, intellectually, psychologically, spiritually. He was always taking me, you, us somewhere.”
—George Carr
Zack Carr is a splendid journey to that somewhere, taking us on a tour of his world inhabited by many muses (Balenciaga, Chanel, Audrey Hepburn, Jackie Kennedy), friends (Marina Schiano, Gwyneth Paltrow), and inspiration found in the form of art itself.
More about George Carr
Fashion/Photography/Lifestyle
Clothbound, 9.75 x 13.5 inches, 195 pages, including an eight-page gatefold, 265 four-color and black-and-white photographs, artworks, and illustrations, ISBN 1-57687-155-X, $75.00
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The Imaginary Portraits of George Condo
By George Condo
Essay by Ralph Rugoff
“Viewing the work, you sense a thrill of being a good artist on a good day. It feels easy. Then you realize, with prickling awe, how rare in your experience the easy feeling is.”
—Peter Schjeldahl, The Village Voice
Since the mid-1970s, George Condo has been painting portraits of people inhabiting his imagination. By transposing the techniques of the Italian Renaissance, Spanish Baroque, French Impressionism, Surrealism, 1950s Modernism, and Pop Art, Condo has created an original movement, which he calls Artificial Realism—the realistic representation of that which is artificial.
In his first artist’s monograph, The Imaginary Portraits of George Condo, the painter showcases an incredible selection of subjects—from Madonnas and Clowns to Metaphysical Mannequins and Antipodular Beings—which previously existed only on the periphery of his consciousness. Condo painted while on the move, and the imaginary characters were made manifest in hotel rooms during his travels throughout Europe. The result is a carnivalesque collection of creatures, the likes of which will most surely surprise, provoke, confuse, and delight.
“The point of view of George Condo has no Rosetta Stone that relates directly to the consensual intelligentsia. It hits from the point of visual impossibility….Floating hats and heads and what are they all looking at? Who? Certainly not you. What? Or perhaps where? In any case, the emotion evoked is completely non-human. No.”
—William S. Burroughs
Exhibition at the Luhring Augustine Gallery, November — December 2002
More about the George Condo and Ralph Rugoff
Art
Clothbound, 10.25 x 13.25 inches, 152 pages, 126 four-color illustrations
ISBN 1-57687-117-7, $60.00
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Time Frames
City Pictures
Photographs by Michael Spano
Text by Susan Kismaric
“It sometimes seems that there are two competing schools of contemporary photography. One, usually called street photography, aspires to capture the textures of life itself. The other, generally known as art photography, is less literal and more experimental, emphasizing the expressive potentials of the medium. But as antipodal as these two approaches seem, they are not necessarily mutually exclusive—witness the work of Michael Spano.”
—Andy Grundberg, The New York Times
“Through [Spano’s] eccentric eye, corporate facades are as riotous as fruit stands, turned topsy-turvy so people and objects flip upside down or project into the picture plane at odd angles. The resulting images are complex, wonderful, and as exhilarating as a roller coaster down Broadway.”
—Vince Aletti, The Village Voice
Time Frames, Michael Spano’s long-awaited first monograph, catalogs the artist’s exploration of spatial and temporal dimensions in photography. The book is divided into five chapters: Panoramas, Grids, Portraits, Multi-Exposures, and Diptychs; each employs a distinctive technical process to provide a new way of looking at life in New York City. Panoramas (1977-1983) shows interacting urbanites moving through elongated frames as the lens of an extremely wide field camera pans during exposure. Grids (1980-1990) captures eight moments on a single negative as Spano moves through a sequence of events, pre-determinedly exposing a portion of the grid every four seconds. Portraits (1984-1990) focuses on individual inhabitants transformed and etched out from their settings through the solarization and blurring forms into an atmospheric world. Multi-Exposures (1985-1998) combines solarizations with multiple perspectives. These single-negative layered compositions orchestrate and compress selected intervals of time and space into one image. Diptychs (1998-1999) fuses two distinct moments on one negative where scale, focal planes, and perspectives shift and comprise a dual image of urban spaces.
Exhibition at the Laurence Miller Gallery, November–December 2002
More about Michael Spano and Susan Kismaric
Photography/New York
Clothbound, 10 x 12.25 inches, 112 pages, 76 duotone photographs
ISBN 1-57687-140-1, $45.00
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Faces of the Rainforest
Photographs by Valdir Cruz
Preface by Trudie Styler
Essay by Kenneth Good
Afterword by Vicki Goldberg
Faces of the Rainforest, Valdir Cruz’s first monograph, is a prophetic portrait of a people on the brink of extinction. The Yanomami, native to Venezuela and Brazil, are believed to be descendants of those who migrated over the Bering Strait some twenty centuries ago and have been residents of the Amazon for the past 15,000 years. Though they are one of the last remaining societies untouched by modernization, interference from outsiders has incontestably altered the fragile future of the Yanomami, as documented in Darkness in El Dorado by Patrick Tierney. Like Edward S. Curtis’ photographs before him, Cruz’s haunting images are made all the more hallucinatory by the knowledge that this ancient culture is about to disappear off the face of the earth.
“For anyone looking at Valdir Cruz’s beautiful, silvery photographs of the remote Indians of the Amazon rain forests, it is difficult to shake the notion that they are images of ghosts populating ghost towns….The ghostly feeling is underscored by the knowledge that the very existence of these Indians, known as the Yanomami in Brazil and Yanomamo in Venezuela—the last tribes in the Americas still untouched by civilization—is gravely threatened.”
—Randy Kennedy, The New York Times
“It will be one of the terrible ironies of our time if we preserve the image of the rainforest and destroy the thing itself and its inhabitants. While that possibility hangs in the balance, here they are, forest and people—images to arrest the eye and, however calm and lovely they may be, provoke the mind’s unease.”
—Vicki Goldberg
Exhibition at THROCKMorton Fine ART, NY
September — October 2002
More about the authors
Photography/Anthropology
Clothbound, 9.25 x 10.25 inches, 144 pages, 88 duotone photographs
ISBN 1-57687-137-1, $39.95
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Bobcats
Photographs by Eric Payson
Essay by Robert Sobieszek
Edited by Mark Holborn
“Eric Payson has created a thoroughly terrific book—an eye view of a young girl’s softball team that is at once intimate and revealing about the twenty-five girls and at the same time evokes the grace, beauty, frustration, and elation of any athletic endeavor. It is a striking achievement to be treasured by anyone who appreciates brilliant photography and anyone who loves sports.”
—Doris Kearns Goodwin,
Pulitzer Prize-winning historian and author of Wait Till Next Year
Bobcats, Eric Payson’s first monograph, is a touching and timeless ode to the game of softball as it is lived and played by the Bobcats, a team of teenage girls based in Tucson, Arizona. With extensive access to their daily routines both on and off the field, Payson has created an intimate portrait of the physical and emotional dramas the girls experience as athletes on the team. His photographs explore the dynamics of the group and the isolation of the individual. Whether the girls are being instructed by their coach, playing around during breaks, idling along the sidelines, or flexing their muscles, Bobcats illustrates how the sport unites the girls in triumph—and in failure.
“We may never know whether the young girl is holding her head in her hands out of fatigue or dismay. We may never discover who the mustachioed man in sunglasses and wearing a cowboy hat is. Nor will we ever find out if the batter, over whose shoulder Payson took two shots, ever hit the softball hurling toward her. But then, it doesn’t matter. What matters are the ordered arrangements of fact that Payson assembles so well.”
—Robert A. Sobieszek
Exhibitions at the Bodo Nieman Gallery, Berlin, October 2002,
and the Kennedy Boesky Gallery, New Uork, March 2003
More about the authors
Photography/Sports
Hardcover, 12 x 9.5 inches, 88 pages, 66 four-color and black-and-white photographs
ISBN 1-57687-142-8, $39.95
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