This is a chronicle of Nan Goldin - a New York-based photographer - and her friend David Armstrong's friends, loves, and lives over 20 years. The book is both a visual dialogue between two artists and the portrait of a generation whose hopes and aspirations have been scarred by drugs, AIDS and sexual harassment. The parallel paths of their lives are represented in this book in the juxtaposition of styles - Goldin's colour photography set against Armstrong's more austere black-and-white imagery. It is both an illustrated history of recent culture and an artistic experiment.

In this newly revised edition of her seminal work, Leibovitz addresses young photographers and readers interested in what photographers do, but any reader interested in contemporary history will be fascinated by her account of one of the richest bodies of work in the photographic canon. 00The subjects include photojournalism, studio work, photographing dancers and athletes, working with writers, and making the transition from shooting with film to working with digital cameras. Originally published in 2008 and then updated and reissued in 2018, this revised and updated edition brings Leibovitz's bestselling book up to date, showcasing some of her most recent work. The photographs discussed include: portraits of the Rolling Stones, John Lennon and Yoko Ono, Meryl Streep, Keith Haring, Joan Didion, Mikhail Baryshnikov, Patti Smith, William S. Burroughs, Rihanna, Agnes Martin, HRH Queen Elizabeth II, and Barack Obama.

"This Will Not End Well is the first book to present a comprehensive overview of Nan Goldin's work as a filmmaker. Accompanying the retrospective show and tour of the same name, organized by Moderna Museet, Stockholm, the book draws from the nearly dozen slideshows and films Goldin has made from thousands of photographs, film sequences, audio tapes and music tracks. The stories told range from the trauma of her family history to the portrayal of her bohemian friends, to a journey into the darkness of addiction. By focusing exclusively on slideshows and video installations, This Will Not End Well aims to fully embrace Goldin's vision of how her work should be experienced. The book retains the presentation of the slide shows by showing all images in the same format on a black background and sequenced as they are in the sources. The 20 texts, of which the major part are newly commissioned by Goldin, complement and deepen the intention of her work." -- Provided by publisher

Transparencies: Small Camera Works 1971-1979' offers an alternative account of one of the most fabled episodes in photographic history: the cross-country journeys that produced Stephen Shore's luminous new vision of the American landscape, 'Uncommon Places'. Along with his large-format camera, Shore also brought a 35mm Leica on his travels. The images made with it, on luminous colour slide film, are intimate, spontaneous and personal, while retaining Shore's studied formal sensitivity. In these entirely unseen photographs, a parallel iteration of an iconic vision emerges like a piece of music played in a new key. The vocabulary is familiar: highways and homes, phone boxes, fast food and sun-strewn parking lots. But the alternative format unmistakably re-envisions these subjects through distinct experiments with composition, attitude, and colour. Transparencies uncovers both a detail-oriented survey of the American landscape of the 1970s and a rigorous, imaginative exercise in form by an undisputed modern master. With an afterword by Britt Salvesen, curator at LACMA, titled 'Ordinary Speech: The Vernacular in Stephen Shore's Early 35mm Photography'

Covering four decades of photography the book serves as a stunning snapshot of Beckman’s significance in the world of art, photojournalism, music, fashion, and popular culture – but most prevalently, it’s a testament of her unique ability to extract beauty from the outliers of society. With written contributions from Beckman’s peers including academia’s Jason King, Chair of NYU’s Clive Davis Institute of Recorded Music & Vivien Goldman author & professor at NYU; journalists Vikki Tobak, and co-founder of PAPER, Kim Hastreiter; visual artist Cey Adams; music legends Sting, Run DMC, Paul Weller, Salt-n-Pepa, Belinda Carlisle, and Slick Rick; and fashion’s Dapper Dan, Dior’s Maria Grazia Chiuri, Levi’s Chad Hinson – From Punk to Dior showcases Janette Beckman’s influence in her realm. In addition to publishing five books, Janette Beckman’s work has been exhibited in galleries worldwide and is included in the permanent collections of the Smithsonian National Museum of African American History and Culture, the Museum of the City of New York, and the British National Portrait Gallery. She is represented by the Fahey Klein Gallery.

A remarkable, intimate, one-of-a-kind visual document of the people, places, and wildlife of Africa today. In his new book, Steve Bloom expresses, as no photographer has ever done, the essence and the diversity of this gigantic continent. From the tallest sand dunes in the world in the Namibian desert to the lush green wetlands of Botswana's Okavango Delta, from the swirling markets of Zanzibar to the windswept rocks and gullies of South Africa's Table Mountain, he captures the colors and cultures of Africa today. More than 200 photographs of Africa's peoples and wildlife perfectly encapsulate the vibrancy of tribal traditions and the beauty of the landscape. Here are Monzambican miners who endure harsh working conditions nearly two miles underground; Ndebele women running community workshops; Surma and Mursi women with giant plates in their lips, a custom that dates back to slave-trade days when tribes would mutilate themselves in order to be left alone; and many others across the continent, north, south, east, and west. Alongside these stories of human fortitude and stamina, there are awe-inspiring photographs of African wildlife: cheetahs, their coats a blur of color against the sun-bleached background; the vast flocks of birds scattered across bright blue skies; and herds of zebras gathered in the African moonlight. Best-selling author and photographer Steve Bloom grew up in South Africa and is one of the world's leading photographers of nature and wildlife. He lives in London.

Much has been written about Surrealist painting and sculpture, but most of the erotic, disorienting, and exquisite Surrealist photographs of Man Ray, Marcel Duchamp, Max Ernst, André Breton, Brassaï, Salvador Dalí, André Kertész, and Hans Bellmer have remained all but unknown -- until now. Traditional criticism has viewed Surrealist photography as a pale imitation of authentic Surrealist work. The assumption has been that photography, a "realistic" medium, is fundamentally incompatible with a cause devoted to the wildly subjective, the world of dreams, and the unconscious. As a consequence, Surrealist photography, a major body of twentieth-century art, has remained largely unexplored. L Amour fou is the first book to study the crucial role photography did in fact play in the Surrealist movement. It shows how photographers enlisted into the service of "subjective" Surrealism their mediums very claim to "objective" reality. Of greatest interest, of course, is the books abundant reproductions of the fantastic and distorted photographic creations that must be acknowledged as an important part of the Surrealist oeuvre. Rosalind Krauss, a professor of art history at Hunter College, CUNY, New York City, is a widely published author of books and articles on art subjects, including Surrealism. Jane Livingston, former associate director and chief curator of The Corcoran Gallery of Art in Washington, D.C., has written major books and exhibition catalogues on art and photography. Dawn Ades has written several art books, including Abbevilles The 20th-Century Poster.

Alfred Stieglitz (1864-46) is one of the most revered artists in the history of the photographic medium. Via his influential journal "Camera Work", which he edited and published from 1903 to 1917, and his galleries 291, The Intimate Gallery and An American Place, he championed, published and exhibited much of the best art, European and American, of the period. He also created his own outstanding body of photographic work and it is this which has firmly established his reputation as one of the great 20th-century artists.

"Best known for his striking photographs of people on the fringes of South African society, Roger Ballen makes images that are ambiguous and often disturbing, but also shot through with flashes of dark humour. The photographs in Shadow Chamber blur the boundaries between documentary photography and art forms such as painting, theatre and sculpture, challenging the ways in which we perceive the 'reality' of photography. Ballen's images are completely honest, yet also fabricated." "The mysterious, cell-like rooms that Ballen photographs are actual places, but they are unsettling and strange, logical but impossible: their walls are covered with scribbled drawings, stains and dangling wires, the floors are strewn with bizarre props and artefacts. Dogs, rabbits and kittens wander into the frame or are stuffed into unlikely containers. The humans and animals in Ballen's photographs appear isolated and lost, yet strangely empowered at the same time. The resulting images are allegories of lived experiences and surreal takes on human destiny." "In his introduction to Shadow Chamber, curator Robert A. Sobieszek analyzes Ballen's unique approach and sets his work in the wider context of the history of documentary photography and critical theory."--BOOK JACKET.

In the 1980s, André Kertesz encouraged Dorothy Bohm to switch to color film. Immediately thereafter, torn advertising posters, graffiti and vernacular murals began to emerge as one of the persistent themes in her work. If their initial appeal was their seductive visuality, their deeper significance arguably stems from her history as a Lithuanian refugee who lost touch with most of her family when she immigrated there as a teenager in 1939. A sense of loss is acute and ever-present in her compelling images of witty and melancholic transient worlds.

"This is a book about the public display of death in contemporary culture. It consists of a series of essays on specific cases in which death is displayed in museums and in photography. The essays focus mainly on representations of violence and death in events in recent Israeli history, including the assassination of Yitzhak Rabin and the Palestinian Intifada, and on the visual presence of traumatic events in Israeli culture throughout the twentieth century. They show how images of these events both shape and aestheticize the viewer's experience of death."--

This book is the product of a unique collaboration between Israeli artist and philosopher Aïm Deüelle Lüski and visual culture theorist Ariella Azoulay. In their longstanding working relationship, they research how to theorize the structure of the contemporary scopic regime and open a space for its civil transformation. On this occasion, Azoulay interprets a particular series of cameras built by Deüelle Lüski, along with photographs taken by these cameras. Unlike conventional cameras and their vertical photography, Deüelle Lüski's cameras seek to generate new sets of relations between the camera and the world. Azoulay's text unfolds four different 'short histories' of problems in photography, each of which deconstructs what otherwise might appear as a coherent photographic regime, yet which is shown to be based solely on principles of sovereignty and possession. Through and with Deüelle Lüski's project Azoulay seeks to 'potentialize' the history of photography, that is, to recover long forgotten, un-materialized possibilities