An unbelievably vivid chronicle of the Nazi "Final Solution", with more than 400 photographs. "Although many books chronicling the Holocaust contain pictures . . . there has never before been one as expansive as this. These photographs demonstrate in the most powerful way the depths to which mankind can sink".--Booklist.

The culmination of Robert A.M. Stern's monumental history of architecture in New York City and a comprehensive record of building over the last twenty-five years A landmark in architectural publishing, New York 2020 explores the planning and politics of building in New York City during the first decades of the 21st century. This encyclopedic book, as complex and vast as the city itself, references more than 3,000 projects constructed between the year 2000 and the present day. Across 1,500 pages, New York 2020 describes and illustrates the 'supertalls' now populating our skyline, lush riverfront parks born from derelict waterfront, iconic cultural destinations, and thousands of smaller, unheralded residential and civic projects that enhance the built environment and the urban fabric. Readers will discover work by leading architects, including Norman Foster, Renzo Piano, Bjarke Ingels, Diller Scofidio + Renfro, Selldorf Architects, Frank Gehry, and Robert A.M. Stern Architects; a dazzling array of museums and institutions, including the High Line, Hudson Yards, the new Whitney Museum, and the expansions of MoMA and Lincoln Center; the rebuilding of the World Trade Center site; and more. The much-anticipated final volume in architect Robert A.M. Stern's critically acclaimed New York series, which traces the evolution of the city from the Civil War to present day, New York 2020 tells the story of a remarkable period of urban development, architectural experiment, and seismic cultural shifts.

""Elvis who?" was photographer Alfred Wertheimer's response when, in early 1956, an RCA Victor publicist asked him to photograph an up-and-coming crooner from Memphis. Little did Wertheimer know that this would be the job of his life: just 21 years old, Elvis Presley was -- as we now know -- about to become a legend. Trailing Presley like a shadow, Wertheimer took nearly 3,000 photographs of Presley that year, creating a penetrating portrait of a man poised on the brink of superstardom. Extraordinary in its intimacy and unparalleled in its scope, Wertheimer's Elvis project immortalized a young man in the very process of making history.... [this book] collects Wertheimer's most remarkable Elvis shots from that magical year, along with a selection of his historic 1958 pictures of the star being shipped off to an army base in Germany. Each chapter is illustrated with a poster by Hatch Show Print, one of the oldest letterpress print shops in America, which created many early Elvis posters in the 1950s."--Provided by publisher

Some years ago, David Freedberg opened a dusty cupboard at Windsor Castle and discovered hundreds of vividly colored, masterfully precise drawings of all sorts of plants and animals from the Old and New Worlds. Coming upon thousands more drawings like them across Europe, Freedberg finally traced them all back to a little-known scientific organization from seventeenth-century Italy called the Academy of Linceans (or Lynxes). Founded by Prince Federico Cesi in 1603, the Linceans took as their task nothing less than the documentation and classification of all of nature in pictorial form. In this first book-length study of the Linceans to appear in English, Freedberg focuses especially on their unprecedented use of drawings based on microscopic observation and other new techniques of visualization. Where previous thinkers had classified objects based mainly on similarities of external appearance, the Linceans instead turned increasingly to sectioning, dissection, and observation of internal structures. They applied their new research techniques to an incredible variety of subjects, from the objects in the heavens studied by their most famous (and infamous) member Galileo Galilei—whom they supported at the most critical moments of his career—to the flora and fauna of Mexico, bees, fossils, and the reproduction of plants and fungi. But by demonstrating the inadequacy of surface structures for ordering the world, the Linceans unwittingly planted the seeds for the demise of their own favorite method—visual description-as a mode of scientific classification. Profusely illustrated and engagingly written, Eye of the Lynx uncovers a crucial episode in the development of visual representation and natural history. And perhaps as important, it offers readers a dazzling array of early modern drawings, from magnificently depicted birds and flowers to frogs in amber, monstrously misshapen citrus fruits, and more.

Once a cult-status rarity, Capa's classic, impassioned Spanish Civil War photobook is available again with new, high-quality image scans and supplementary research Robert Capa's Death in the Making was published in 1938 as a poignant tribute to the men and women, civilians and soldiers alike, fighting in Spain against Franco's fascist insurrection. The book included only one year of images from the Republican position, but covered the spectrum of emotions of a civil war, from the initial excitement to the more harrowing realities of modern warfare. But over time, after World War II and rising anti-communist paranoia in the United States, association with the Spanish Civil War was a liability and the book became obscured. Today, however, Death in the Making has reached cult status, not least because copies are hard to find (particularly ones with Capa's famous Falling Soldier image on the dust jacket). With new scans of all the images, this facsimile of the original edition reproduces the original layout by photographer André Kertész, the original caption text by Capa and preface by writer Jay Allen. The muddy 1938 publication is entirely transformed by high-quality printing to reflect the beauty and pathos of the original intention. This edition also includes a new essay with new research on the making and the reception of the original book, and a complete checklist identifying the author, location and date of each image. The most important new information is that Robert Capa and Gerda Taro are not the only photographers in the book, but also included was work by their good friend and colleague Chim, later known as David Seymour. Born Endre Erno Friedmann in Budapest, Robert Capa (1913-54) spent his early years moving from Hungary to Germany to France and Spain, first to dodge political strife and then to actively follow and document it. From 1936 to 1945 Capa photographed the Spanish Civil War, the Second Sino-Japanese War and World War II. In 1947, he founded the Magnum Photos agency with fellow photographers Henri Cartier-Bresson and David "Chim" Seymour, among others. Several years later, while documenting the First Indochina War, Capa died when he stepped on a landmine

From 1925 until his death in 1929 the Hamburg-based art and cultural scholar Aby Warburg worked on his Mnemosyne Atlas, a volume of plates that has, in the meanwhile, taken on mythical status in the study of modern art and visual studies. With this project, Warburg created a visual reference system that was far ahead of its time. In cooperation with the Warburg Institute, Roberto Ohrt and Axel Heil have now undertaken the task of finding all of the individual pictures from the atlas and displaying these reproductions of artworks from the Middle East, European antiquity, and the Renaissance in the same way that Warburg himself showed them, on panels hung with black fabric. This folio volume and the exhibition in Haus der Kulturen der Welt, Berlin succeed in restoring Warburg's vanished legacy something that researchers have long considered impossible. -- ABY WARBURG (1866-1929), scion of a Hamburg banking family, completed his doctorate in 1892 on the Italian Renaissance painter Sandro Botticelli. As a result, he comprehensively studied the interplay of myths, images and rites from different cultural contexts. This lead him to his main subject matter: the afterlife of antiquity in the Renaissance. With his attempt to break down the rigid boundaries of art history, Warburg is regarded as one of the fathers of modern pictorial science

Fred Stein (1909-1967) was a master of street photography. As an early pioneer of the hand-held camera, he captured poignant moments in the street life of two of the world's great cities: Paris and New York, where he lived after fleeing from Nazi Germany. This same immediacy infuses his portraits of the great personalities of the era, among them Albert Einstein, Georgia O'Keeffe, and Marc Chagall. Stein's images are a vital document of the twentieth century and an important part of photo history. He left behind an existensive oeuvre which this publication presents comprehensively for the first time.

This publication focuses on an aspect of Rebecca Horn's extraordinarily diverse oeuvre that plays an important role in the formal constitution of her large sculptures and installations - the relationship between the work of art and its architectural setting. The book presents a selection ranging from works of the 1980s to sculptures and installations realized in 2005. In the early Measure Box (1970) and Rooms meet in mirrors (1974/75a) the human body is the measure of spatial perception. In the installation entitled Concert in Reverse (1987), the artist works in a building with a dubious political background - the "Zwinger," where countless people were tortured during the Nazi regime - exploring its history and creating a place of remembrance. In Moon Mirror (2003), a work installed in Pollenca, the artist creates a column of air between a fountain constructed with mirrors and an eddy of light beneath the dome of the convent church. At the point at which the Orient and the Occident meet, the moon is captured as a "vehicle of human vision and expressions." The viewer descends into the depths of the fountain and transcends his own horizon in order to survey the heavens anew. -- Dustjacket.

R. H. Quaytman is one of the most outstanding contemporary American artists, trying to revive and update the intellectual and emotional potential of the painting medium. Her work, which is a constantly evolving project, is a multi-threaded story divided into subsequent chapters, which, despite their apparent separateness, connect with each other. These images often have a strong autobiographical basis. Feminist threads appear here many times. Part of the series is a record of the artist's family history. We can find here the motives of her experiencing motherhood and raising her daughter. "The Sun" - the name of the first chapter refers to the title of the newspaper in which the artist found a notification of the sudden, tragic death of her grandfather. Her visit to Łódź in 1999, for many reasons of a city that was particularly important to her, initiated a fascination and then a constant creative dialogue with the art of Władysław Strzemiński and Katarzyna Kobro. Despite the fact that the impulse to create many of her works were genuine important events in the artist's life, these images escape unambiguous interpretation. Often times, it only becomes clearer when they are put together, when their relationships, bonds and influence are formed.

The photographic ready-made Memory and its use as historiography is a central theme in Dani Gal's (* 1975) work. Since 2005, the artist has compiled a large archive of historical vinyl records; he combines these sound documents in his installations and performances--often collaborations--with electronically generated sound. He initially deconstructs this historical material, puts it in a contemporary context, and reconstructs in this way--by structuring the previously widely scattered material--a layer of the past that would otherwise remain sensorially irretrievable. He thus stimulates our study of history, opening up a truly surprising additional perspective. Dani Gal examines how history, or rather, how its recording is constructed, packaged, presented and consumed; yet, it is not simply about the individual vinyl record as an aesthetic object, but also all the information related to it. In addition to numerous records on World War II and its protagonists (»Hitler spricht«, Goebbels, Roosevelt, Churchill, etc.), it is, above all, those American records of the post-war period that stand out in his collection: speeches by Kennedy, Nixon, Jesse Jackson and LP-collections with original recordings from 1967, 1968 and following years. This raises questions about historic events and their medial presentation; Dani Gal immediately creates an ironic distance by nebulizing the analogous semantic cosmos of the spoken language with digital-electronic sound clouds he produces. The book at hand not only documents his work based on meticulous research in the labyrinths of media archives, but rather interweaves--in the actual sense of that word--the source material with pop culture and forms something like a photographic ready-made.