Monographs & Art Books / S

334A wonderful book with poetic images of Josephine Sacabo.

334A catalogue of Josephine Sacabo's retrospective exhibition at the Ogden Museum of Southern Art. Hardbound in embossed linen with sixty-eight images, an introduction by John Stevenson, and notes on the portfolios by Josephine Sacabo. "...To be sure, each component does stand on its own; a distinct, titled, portfolio of images. Each was preceded by a year or more of silence: artist at work. Then, all of a piece, the body of work appears fully formed. There is one characteristic in common: each portfolio crystalizes around a particular poem, or just a wisp of a poem, that somehow became caught up in Sacabo's imagination. The epiphany of the exhibition, this collection of a life's work so far, is that these portfolios are not isolated islands. They are components - cantos - of a single extended work."

334"This is the story of a woman who invents her freedom by creating an imaginary architecture made of light, scraps of memory, hopes, and dreams - a permeable architecture where nothing is confined. It is dedicated to Juana La Loca, the supposed 'mad' queen of Spain in the 16th century who for political motives was imprisoned for 46 years by her father, husband, and son in an architecture of darkness and stone." -Josephine Sacabo

334Josephine Sacabo studied photography at Bard College in New York. Following the steps of Robert Frank, Joseph Koudelka and Henri Cartier-Bresson in England and France, she settled in New Orleans. This book shows her 1991 work influenced by the poetry of Rilke, Baudelaire, Garcia Lorca and Huidobro. Forty-Five black and white photographs 8.5" x 7.5" on Fine Art high grade paper. Two chapter headings in French. Published in France.

58Having been raised on a rural farm in Brazil, far from civilization and without television, Salgado possessed a deep love and respect for nature; he was also particularly sensitive to the ways in which human beings are affected by their often devastating socio-economic conditions. Of the myriad works Salgado has produced in his esteemed career, three long-term projects stand out: Workers (1993), documenting the vanishing way of life of manual laborers across the world, Migrations (2000), a tribute to mass migration driven by hunger, natural disasters, environmental degradation and demographic pressure, and this new opus, Genesis, the result of an epic eight-year expedition to rediscover the mountains, deserts and oceans, the animals and peoples that have so far escaped the imprint of modern society—the land and life of a still-pristine planet. “Some 46% of the planet is still as it was in the time of genesis,” Salgado reminds us. “We must preserve what exists.” The Genesis project, along with Salgado’s Instituto Terra, are dedicated to showing the beauty of our planet, reversing the damage done to it, and preserving it for the future.

58Sebastiao Salgado spent seven years photographing and living with the peoples of Brazil, Ecuador, Bolivia, Peru, Guatemala, and Mexico. His portrait of the daily life there shows us both the cultures and their politics. It is, according to the publisher, "the visual equivalent to the magic of a Gabriel García Márquez tale." One of the most powerful visions of life in Central and South America ever recorded by a photographer.
This book was first published in 1986.

58In 1984 Sebastião Salgado began what would be a fifteen-month project of photographing the drought-stricken Sahel region of Africa in the countries of Chad, Ethiopia, Mali, and Sudan, where approximately one million people died from extreme malnutrition and related causes. Working with the humanitarian organization Doctors Without Borders, Salgado documented the enormous suffering and the great dignity of the refugees. This early work became a template for his future photographic projects about other afflicted people around the world. Since then, Salgado has again and again sought to give visual voice to those millions of human beings who, because of military conflict, poverty, famine, overpopulation, pestilence, environmental degradation, and other forms of catastrophe, teeter on the edge of survival. Beautifully produced, with thoughtful supporting narratives by Orville Schell, Fred Ritchin, and Eduardo Galeano, this first U.S. edition brings some of Salgado's earliest and most important work to an American audience for the first time. Twenty years after the photographs were taken, Sahel: The End of the Road is still painfully relevant.

58More than those of any other living photographer, Sebastião Salgado's images of the world's poor stand in tribute to the human condition. His transforming photographs bestow dignity on the most isolated and neglected, from famine-stricken refugees in the Sahel to the indigenous peoples of South America. Workers is a global epic that transcends mere imagery to become an affirmation of the enduring spirit of working women and men. The book is an archaeological exploration of the activities that have defined labor from the Stone Age through the Industrial Age, to the present. Divided into six categories--"Agriculture," "Food," "Mining," "Industry," "Oil" and "Construction"--the book unearths layers of visual information to reveal the ceaseless human activity at the core of modern civilization.

Gathering a series of photographs taken by Txema Salvans (born 1971) over the course of six years, The Waiting Game documents the exercise of prostitution along the highways of Spain’s Mediterranean coast. Disguised as a surveyor, Salvans photographed prostitution with an emphasis on the decidedly unerotic quality of its actual environs: the intersections, roundabouts, dead-end streets and shoulders of the road. The photographs in this book present the solitary figure of the waiting woman as a stereotypical image of objectified sexuality, in a landscape that is both striking and tragic. Exploring the varied and often surprising gamut of human longings and behaviors, Salvans achieves a balance of sociological dissection and naturalistic narration, and presents the image of the prostitute as an almost impersonal component of a larger mechanism.

For more than a decade, Victoria Sambunaris (born 1964) has crossed the United States with her five-by-seven wooden field camera and sheets of color negative film. Traveling seemingly every road nationwide, Sambunaris has described herself as having "an unrelenting curiosity to understand the American landscape and our place in it." This first monograph on Sambunaris' work consists of two handsome hardback volumes. The first includes a retrospective selection of her images from 2000 to 2013; the second documents the artist's collected professional ephemera as a photographer and researcher. Included in this fascinating assortment of documents are images of books on geology and history, maps, artifacts such as mineral specimens, journals and road logs, as well as her small photographic sketches. An essay from MOCP Director Natasha Egan provides an insightful overview of this ardent chronicler of contemporary America.

280This retrospective covers more than forty years of work and unfolds in almost as many countries. Pentti Sammallahti is a wanderer who makes subtle observations of the people and animals he encounters. He records the ordinary and in that ordinariness finds the “wondrous” and “beautiful.” Sammallahti is recognized as a master craftsman both in terms of the photographic print and also in mechanical printing methods—he has been a major influence on published photographic art. He has had an enormous influence on a generation of photographers in Scandinavia and, since 1979, has published thirteen books and portfolios and received innumerable awards.

393With People of the 20th Century, August Sander created a monumental work that is unique in the history of photography and a classic of photographic literature. Sander conceived this large-scale project, which he ultimately never completed, in the 1920s. He was to spend the rest of his life working on it, his objective nothing less than a complete typological portrait of contemporary society. Hundreds of portraits classified according to professional, social or family criteria were to provide a representative picture of the various social groups. He envisaged seven groups labeled: "The Farmer", "The Skilled Tradesman", "The Woman", "Classes and Professions", "The Artists", "The City" and--on the theme of age, illness and death--"The Last People". We have now condensed out 2002 seven-volume edition of the artist's complete oeuvre into one large volume presenting "the essential" People of the 20th Century.

Timing, skill, and talent all play an important role in creating a great photograph, but the most primary element, the photographer’s eye, is perhaps the most crucial. In The Eyes of the City, Richard Sandler showcases decades’ worth of work, proving his eye for street life rivals any of his generation. From 1977 to just weeks before September 11, 2001, Richard regularly walked through the streets of Boston and New York, making incisive and humorous pictures that read the pulse of that time. After serendipitously being gifted a Leica camera in 1977, Sandler shot in Boston for three productive years and then moved back home to photograph in an edgy, dangerous, colicky New York City.

Burkina Faso photographer Sory Sanlé (born 1943) started his career in 1960, the year his country (then named République de Haute-Volta) gained independence from France. Sanlé opened his Volta Photo portrait studio in 1965 and, working with his Rolleiflex twin-lens, medium-format camera, Volta Photo was soon recognized as the finest studio in the city. Voltaic photography’s unsung golden age is fully embodied by Sory Sanlé: his black-and-white images magnify this era and display a unique cultural energy and social impact. This is the first monograph on Sanlé’s work, which examines the natural fusion between tradition and modernity. Sanlé documented the fast evolution of Bobo-Dioulasso, then Burkina Faso’s cultural and economic capital, portraying the city’s inhabitants with wit, energy and passion. His work conveys a youthful exuberance in the wake of the first decades of African independence. In many ways, Sanlé’s subjects also illustrate the remoteness and melancholy of African cities landlocked deep in the heart of the continent.

5This is the first book by French photographer-artist Lise Sarfati, composed of images made during extended visits to Russia during the 1990s. The book is neither travelogue nor photojournalistic essay. Rather, Sarfati uses descriptions of the details of the Russian environments which fascinate her to create a visual drama - a personal theatre of dysfunction and deterioration, of change and beauty. The title - literally "it (feminine) is over" from the Latin phrase "Acta Est Fabula" meaning "the play is over" - signals her insistence that the work not be read as journalism but as a work of theatrical imagination.

5A family album preserves only carefully selected photographs. Out of an entire life, it stores only handpicked moments, privileging special occasions, happy ones usually, and consigning the rest to oblivion: happy faces, relaxed moments, places of leisure rather than work. It tends to underline a group’s social links and affective relations, to highlight an identity, a communal spirit, a shared life and destiny. The portrait of the couple or group, with all its attendant conventions, is one of its inescapable figures. The family album tries to register the evolution of a particular human community, to write its story and scan the passage of time with each succeeding page. None of this figures in She: instead of a chronology, time is stopped, it appears to stammer and bite its own tail. There is no group photo or desire to stage a collective destiny, but only isolated models and individuals who do not seem to communicate amongst themselves, or only barely; no happy moments or picturesque places, only indifferent moments in ordinary places; no strong gesture, none of the conventional poses, and no complicity with the photographer. The models pose, but reservedly, more often than not without looking into the camera. And even when we do see their faces, we don’t really seem to see them. They are here, but they are always also there, elsewhere. When we close the book and think a bit about it, we cannot but see She as the anti-family album par excellence. Quentin Bajac Chief Curator of Photography at the Centre Pompidou, Musée Nationale d'art moderne in Paris

In a nondescript concrete building on a busy street in the old city of Kabul, young men file into a dark, smoke-filled theater and take their seats. Soon the projector roars to life, and the audience begins to laugh, whistle and even dance as the latest Pakistani cinematic drama illuminates the big screen before them. In his new book, Forbidden Reel, American-born, Sweden-based photographer Jonathan Saruk documents the cinemas of Kabul--entertainment venues that had been banned under the Taliban but which have sputtered back to life since the US invasion 12 years ago. Forbidden Reel provides an alternative narrative to life in this violence-plagued city where going to the movies, for many, is an escape from the harsh reality that lies outside the secure confines of the theater.

313This mid-career retrospective volume focuses on Viviane Sassen's fine art photography, revealing a surrealist undercurrent in her work. Sassen recognizes Surrealism as one of her earliest artistic influences, seen in the uncanny shadows, fragmented bodies, and otherworldly landscapes she captures in her work. In addition to images from the acclaimed series "Umbra," this volume draws from the series "Flamboya," in which she returned to Kenya, "Parasomnia," a dreamlike exploration of sleep, the "Roxane" series, a mutual portrait created with her muse, Roxane Danset, "Of Lotus and Mud," a study of procreation and fecundity, and "Pikin Slee," a journey to a remote village in Suriname. This book features a contextualizing essay and an insightful interview with the artist. Throughout, Sassen emerges as a poetic photographer obsessed with light and shadow and a brilliant technician, who is a master of both vibrant color and muted hues. Selected by Sassen herself from across the last ten years, the images draw on the surrealist strategies of collage and unexpected juxtapositions to give a survey of her practice.

318Following the success of Parasomnia, this major new book focuses on the fashion photography of Viviane Sassen. Bringing together 17 years of work in the fashion world, this eye-catching volume features selections from Sassen's award winning series and campaigns for Stella McCartney, Adidas, Carven, Bergdorf Goodman, MiuMiu, and M Missoni, along with editorials for magazines such as the New York Times Magazine, i-D, Numéro, Purple, AnOther Magazine, Dazed &Confused, Fantastic Man, and POP. Sassen's intuitive and imaginative style can be flamboyant, contemplative, erotic, and surreal, often simultaneously. This volume includes essays that offer a context for Sassen's work in the history of fashion photography as well as a bibliography of nearly all of her fashion series. The book will be a delight for Sassen's many fans and those eager for inspiration or beautiful escape.

318Renowned photographic artist Viviane Sassen's latest body of work was realized in a remote village on the Upper Suriname River. Known for her imaginative approach to fashion photography, Sassen's lens here captures mundane objects, making them appear extraordinary against the background of nature's overwhelming presence. Largely shot in black and white, the informal photos also capture a sense of Sassen's personal connection to the village, which is inhabited by the ancestors of former slaves who escaped Dutch rule.

318This latest book by Viviane Sassen, one of the world’s most acclaimed photographers, explores the concept of shadow in a series of stunning images. Based on an award-winning exhibition, Viviane Sassen’s new book focuses on a common theme in her photographs: shadow. In this book she leads us through a series of thought-provoking takes on the concept―shadow as metaphor for anxiety and desire; as a symbol of both memory and hope for the future; and as an evocation of imagination and illusion. Sassen’s work is renowned for its deft interplay between realism and abstraction. Here that characteristic emerges in the dramatic use of light, shadow and color, as well as the adroit cropping of images and interventions on the prints. This lovely book brilliantly accentuates Sassen’s contrasting color schemes to reinforce the idea of shadow creating an enthralling tactile and visual experience.

During apartheid, Jurgen Schadeberg worked for the leading "black" publications of the time. This way he had access to the likes of a young activists, like the lawyer, named Nelson Mandela. Iconic pictures of many future South African leaders followed.

877In June, 1963, on assignment from Sports Illustrated, peerless portrait photographer Steve Schapiro traveled to Louisville, Kentucky to spend some time with the young Olympic champion boxer Cassius Clay, and accompany him on a road trip to New York City. At 21, Clay was yet to adopt the mantel of Muhammad Ali, but his boastful persona, intelligence, black pride, and sharp tongue were already fully formed. Over the course of their five days together, Schapiro - a master at developing trust and capturing unguarded intimacy on film - revealed both sides of the young Ali: the one side posing and preening for the camera, ever conscious of his image; the other, unguarded and unselfconscious, in candid images of the young fighter at home with his family and immersed in his community and neighborhood. Ali collects the best of Schapiro's images of the late fighter; many in print for the first time ever. They offer a glimpse of a star on the rise. It is an indelible portrait of the early life of one of the most talented, graceful, controversial, athletic, and influential American figures of the 20th century.

877A private photo session from 1974 with the iconic performer featuring many images seen here for the first time. David Bowie's unexpected death has invited intense scrutiny over the rich and complex imagery and signifiers in the videos released for Blackstar, his last, enigmatic album. At press time for this book, a Bowie superfan alerted us to the remarkable similarities between these videos, particularly "Lazarus," and the photo shoot that comprises the bulk of this book.

877Schapiro's Heroes brings together an extraordinary collection of stories in the photo-journalistic tradition of people who have shaped our lives, our politics, and our tastes by the celebrated documentarian Steve Schapiro. In behind-the-scenes photographs, we visit the young Muhammad Ali and his Monopoly set, followed everywhere by the neighborhood kids; glimpse the warm family life and campaign of Robert Kennedy, who was so suddenly struck down; see Andy Warhol in photographs never before published; watch Ray Charles perform; visit the set with Samuel Beckett; and march alongside Martin Luther King Jr. One of the most respected American documentary photographers, Steve Schapiro has a knack for being in the right place at the right time. His heroes are the iconic men and women who have influenced the political and cultural climate of our times. Schapiro's Heroes is a rare and intimate glimpse of a major period of American history, photographed during the golden age of photojournalism by one of the major talents of the late twentieth century.

"Schapiro and Baldwin showed the possibility of what strong writing and photography could achieve in their time. In ours, we'd do well to look to them." - The Guardian, London

First published in 1963, James Baldwin's The Fire Next Time stabbed at the heart of America's so-called "Negro problem." As remarkable for its masterful prose as for its frank and personal account of the black experience in the United States, it is considered one of the most passionate and influential explorations of 1960s race relations, weaving thematic threads of love, faith, and family into a candid assault on the hypocrisy of the "land of the free."

Now, James Baldwin's rich, raw, and ever relevant prose is reprinted with more than 100 photographs from Steve Schapiro, who traveled the American South with Baldwin for Life magazine. The encounter thrust Schapiro into the thick of the movement, allowing for vital, often iconic, images both of civil rights leaders-including Dr. Martin Luther King Jr., Rosa Parks, Fred Shuttlesworth, and Jerome Smith-and such landmark events as the March on Washington and the Selma March.

Rounding out the edition are Schapiro's stories from the field, an original introduction by civil rights legend and U.S. Congressman John Lewis, captions by Marcia Davis of The Washington Post, and an essay by Gloria Baldwin Karefa-Smart, who was with her brother James in Sierra Leone when he started to work on the story. The result is a remarkable visual and textual record of one of the most important and enduring struggles of the American experience.

For a decade, Ken Schles watched the passing of time from his Lower East Side neighborhood. His camera fixed the instances of his observations, and these moments became the foundation of his "invisible city." Friends and architecture come under the scrutiny of his lens and, when sorted and viewed in the pages of this book, a remarkable achievement of personal vision emerges. Twenty-five years later, Invisible City still has the ability to transfix the viewer. A penetrating and intimate portrayal of a world few had entrance to--or means of egress from--Invisible City stands alongside Brassai's Paris de Nuit and van der Elsken's Love On The Left Bank as one of the twentieth century's great depictions of nocturnal bohemian experience. Documenting his life in New York City's East Village during its heyday in the tumultuous 1980s, Schles captured its look and attitude in delirious and dark honesty. Long out of print, this "missing link" in the history of the photographic book is now once again made available. Using scans from the original negatives and Steidl's five-plate technique to bring out nuance and detail never seen before, this new edition transcends the original of this underground cult classic.

413Almost each week, Martin Schoeller is called upon by The New Yorker magazine to capture portraits of the most recognized personalities of our time (President Bill Clinton, Prince Bandar bin Sultan, Catherine Zeta-Jones, Norman Mailer, Jack Nicholson and many others). Over 100 of these stunning headshot portraits are collected here in a monograph that tracks the evolution of his style and showcases the body of his work. His photographs strip away all extras, leaving only the form and light. Martin Schoeller is a rare photographer who is advancing a new style and vision in the world of portrait photography.

413Female Bodybuilders is the second monograph by contemporary artist and photographer Martin Schoeller. Schoeller is considered a contemporary master of portrait photography. Since 1999, Martin Schoeller has been contracted by The New Yorker to capture portraits of the most recognized personalities of our time. Through this and other magazines, he has photographed President Bill Clinton, Barak Obama, Tom Wolfe, Angelina Jolie, George Clooney, and many others.

413Long a source of fascination, twins have often been a theme of myth and legend. The founding of Rome by Romulus and Remus is one of the many instances that spring to mind. Even when separated at birth, twins usually have uncannily similar tastes, habits and life experiences. In this landmark photographic study, Martin Schoeller uses his distinctive close-up portrait style to examine 40 sets of identical twins, capturing every subtle aspect of their facial structure and expressions. We notice the myriad similarities and the seemingly miniscule--yet significant--differences. Browsing this remarkable collection, you'll find yourself pondering how appearance and identity define our sense of our selves.

413Martin Schoeller is a master in both staged photographs as well as raw portraits establishing a new paradigm in photography. As typified in the best-selling Close Up (ISBN 978-3-8327-9045-5), Schoeller captures well-known personalities stripped of artifice and PR spin. The resultant headshots are pure and resonant. Yet, this photographic artist is also a master storyteller who juggles elements of fairytales and blockbuster movies. His action-packed vignettes are worlds unto themselves…dark little universes where anything can—and does—happen.

413Building on the success of his previous titles, Close Up and Identical, Martin Schoeller's momentous Portraits is cause for celebration. The illustrious photographer's full range of expression is on display in this unprecedented gathering of editorial images. With an impressive amount of variety and scale, Schoeller shares his signature compositional imagination alongside the wry wit that animates his work. Whether portraits of political leaders, Hollywood stars, business entrepreneurs, or contemporary music royalty, these images are as daring as they are exacting, playful and precise. Regardless of the subject and setting, Schoeller's photographs seemingly come to life. While Portraits will surely thrill devoted fans, it will also attract new admirers with images they've noted in top magazines. Every frame in this expansive volume is touched with Schoeller's distinctive flare for creative meticulously realized worlds--and confirm that he's a talent that consistently resets the limits of photographic portraiture.

Amelia is 14 years old. In many ways, she is your average American teenager: since she was three years old, she has been her mother's muse, and the subject of her photographs. However, not every mom is a world-class photographer with a predilection for photographing animals. And it's not every teenager who has portraits of herself with elephants, llamas, ponies, tigers, kangaroos, chimpanzees and endless dogs, cats, and other animals--portraits that hang in the collections of major art museums around the world. Amelia and the Animals is Robin Schwartz's second monograph featuring this collaborative series dedicated to documenting her and Amelia's adventures among the animals. As Schwartz puts it, "Photography is a means for Amelia to meet animals. Until recently, she took these opportunities for granted. She didn't realize how unusual her encounters were until everyone started to tell her how lucky she was to meet so many animals." Nonetheless, these images are more than documents of Amelia and her rapport with animals; they offer a meditation on the nature of interspecies communication and serve as evidence of a shared mother-daughter journey into invented worlds.

335Inspired in part by Daido Moriyama's grim 1971 photograph “Stray Dog”, Yusuf Sevincli’s high contrast black-and-white photographs explore his neighborhood in Istanbul. The images, abused with scratches and stains, suggest a thriving human element despite the area’s harsh conditions. Good Dog is brutally poetic, a reminder that “what was felt is what was lived”, its melancholic images resonating on both a visual and emotional level.

33"Chim picked up his camera the way a doctor takes his stethoscope out of his bag, applying his diagnosis to the condition of the heart. His own was vulnerable."—Henri Cartier-Bresson Among the great masters of European photography, Chim endures as a legend. Along with Henri Cartier-Bresson, Robert Capa, and George Rodger, he co-founded photojournalism's famous cooperative, Magnum Photos, and occupies a special place in the canon. This retrospective monograph gathers hundreds of rolls of film Chim shot shortly after World War II for UNICEF. One of Chim's best-known projects, this series was printed by Life in 1948 and by UNICEF is 1949. However, myriad images were left unpublished, hidden from the public audience. Chim: Children of War, created in close collaboration with Chim's estate, unveils many of these never-before-seen photographs, further cementing Chim as one of the most influential photographers of our time, an image-maker whose emotional empathy remains unmatched.

33This book traces the career of Chim, famed photojournalist and cofounder of Magnum Photos, who dedicated much of his life to documenting war and its aftermath. Born Dawid Szymin in Warsaw, Chim began his career in the early 1930s photographing for leftist magazines in Paris. In 1936, one of these magazines, Regards, sent him to the front lines of the civil war in Spain, along with comrades Robert Capa and Gerda Taro. Although war formed the backdrop of much of his reportage, Chim was an astute observer of 20th-century European politics, social life, and culture, from the beginnings of the antifascist struggle to the rebuilding of countries ravaged by World War II. Like millions of other Europeans, Chim had suffered the pain of dislocation and the loss of family in a concentration camp. His profound empathy for his subjects is evident in his postwar work on child refugees. In this volume, Chim emerges as both a talented reporter and a creator of elegant compositions of startling grace and beauty. The book places Chim's work within the broader context of 1930s-1950s photography and European politics.

406Inspiration is not a far-flung concept, out of reach to all but a few great artists. It's not random luck either, hitting people like lottery winners. As a photographer its possible to train your mind to see the possibilities in any situation, and Inspiration in Photography will show you how.

Bronx Boys presents an extended photo essay that chronicles the lives of these kids growing up in the Bronx. Shames captures the brutality of the times—the fights, shootings, arrests, and drug deals—that eventually left many of the young men he photographed dead or in jail. But he also records the joy and humanity of the Bronx boys, who mature, fall in love, and have children of their own. One young man Shames mentored, Martin Dones, provides riveting details of living in the Bronx and getting caught up in violence and drugs before caring adults helped him turn his life around. Challenging our perceptions of a neighborhood that is too easily dismissed as irredeemable, Bronx Boys shows us that hope can survive on even the meanest streets.

A comprehensive survey of master railroad photographer Jim Shaughnessy's images of the railroad in North America in the transitional era from steam locomotives to diesel- powered engines
Jim Shaughnessy is an essential witness to six decades of change in North American railroading, from the late 1940s into the twenty-first century. His photographic achievement is one of the pinnacles of railroad photography as a genre, which he, along with others of his generation, raised to the level of art, worthy of consideration beyond the world of trains and the interest of rail fans.
The early years of his career coincided with the dramatic shift in the railroad industry from the steam locomotive to the diesel engine. During those transition years of the 1940s and 1950s, Shaughnessy was there to record every nuance and every detail with uncommon insight and unrelenting dedication. Shaughnessy loved steam, but he also embraced diesel. It was a period of transition, and it would only happen once, and he made the most of it, for he understood that he was a witness to history.
Born and raised in Troy, New York, a city with a deep industrial heritage rooted in iron and steel, Shaughnessy began by documenting the railroad scene in the Northeastern United States. His interests and travels also took him to other areas of the country to document the Rio Grande narrow gauge in Colorado and the Union Pacific Big Boys in Wyoming, and into Canada and Mexico as well.
Shaughnessy distinguished himself from the previous generation of railroad photographers by thinking more photographically and exploring the creative potential of the medium, challenging the conservative vision that had dominated railroad photography through to mid-century. This led him to see beyond the trains themselves to visually interpret the industrial and cultural landscape through which they moved. And so he documented the railroad environment, set within village, town, and city as well as rural and wilderness landscapes. He not only photographed the trains and locomotives, but contextualized the railroad by depicting the personnel, the infrastructure, and architecture, documenting for posterity the workers behind the machines that operated in the depots, roundhouses, and back shops. He captured a sense of place and time in astutely observed moments during both day and night in all seasons. Particularly striking are his images of trains at night-as author and historian Lucius Beebe once described Shaughnessy's work, "He was master in the massive effects of black and white."
Drawn from a lifetime's work and an archive of some 60,000 images, the principal focus of this revealing new book is on the decades of the 1950s and 1960s, perhaps the most dynamic era of North American railroading.

The pictures in Ether--Fazal Sheikh's first book in color--were made as a way to honor the experience of death and to try to comprehend its significance. Benares (Varanasi) is one of India's sacred cities, where many Hindus come to die in the belief that they will find salvation. As he walked its streets by night, Sheikh observed sleeping figures, shrouded in blankets, lost to an oblivion that seemed, in that holy city, to offer a simulacrum of death. In watching these ambiguous figures, which hover in the imagination between a dream state, sleep and death, Sheikh recalled his own experience with his dying father and their passage together through his father's final days. He remembered it as an invaluable period of emotional connection with the body and soul of the person he knew and loved, a connection that reached back to his paternal ancestors, who had travelled south from northern India a century before. To lose oneself in sleep is to abandon the senses and leave the way open to a dream state in which mind and body separate.

132Published to accompany the first major survey of Cindy Sherman's work in the United States in nearly 15 years, this publication presents a stunning range of work from the groundbreaking artist's 35-year career. Showcasing approximately 180 photographs from the mid-1970s to the present, including new works made for the exhibition and never before published, the volume is a vivid exploration of Sherman's sustained investigation into the construction of contemporary identity and the nature of representation. The book highlights major bodies of work including her seminal Untitled Film Stills (1977-80); centerfolds (1981); history portraits (1989-90); head shots (2000-2002); and two recent series on the experience and representation of aging in the context of contemporary obsessions with youth and status. An essay by curator Eva Respini provides an overview of Sherman's career, weaving together art historical analysis and discussions of the artist's working methods, and a contribution by art historian Johanna Burton offers a critical re-examination of Sherman's work in light of her recent series. A conversation between Cindy Sherman and filmmaker John Waters provides an enlightening view into the creative process.

132The Phaidon Focus series presents engaging, up–to–date introductions to art’s modern masters. Compact, affordable, and beautifully produced, the books in this growing series are written by top experts in their field. Each features a complete chronological survey of an artist’s life and career, interspersed throughout with one–page "Focus" essays examining specific bodies of work.

132American artist Cindy Sherman creates staged and manipulated photographs that draw on popular culture and art history to explore female identity. Her art embodies two developments in the art world: the impact of postmodern theory on art practice; and the rise of photography and mass-media techniques as modes of artistic expression. This volume, published on the occasion of an international touring exhibition, presents over 200 images from the breadth of Sherman's work, from the "Untitled Film Stills" of the 1970s to series such as "Centerfolds", "Fashion", "Disasters", "Fairy Tales" and "History Portraits". Essayists Cruz, Jones and Smith offer insights into Sherman's art from several vantage points, positioning it within the trajectory of feminist art history and revealing her influence since the 1970s.

132Cindy 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 clichas.

132For more than 30 years now, Cindy Sherman has been enacting a gamut of female roles and identities. Contrary to popular belief, the famous Untitled Film Stills (1978-80) are not Sherman's earliest works, but rather those photographs she took as a student at State University College at Buffalo, between 1975 and 1977. During those years, Sherman cast aside the career in painting she had initially imagined for herself and began to study photography: "I was meticulously copying other art and then I realized I could just use a camera and put my time into an idea instead," she later recalled. Cindy Sherman: The Early Works, 1975-1977 gathers all of the artist's work from this decisive phase, in which Sherman was formulating her conceptions of gender and identity construction, gathering her toolkit of props (wigs, makeup, costumes) and becoming friends with artists such as Robert Longo (with whom she would establish the Hallwalls gallery in New York). With nearly 300 plates, including numerous previously unknown photographs, plus scholarly research by editor Gabriele Schor, this substantial volume adds a wealth of new information to our understanding of Sherman's oeuvre.

132Throughout her career, Cindy Sherman (born 1954) has been interested in exposing the darker sides of human nature, noticeable both in her selection of subject matter (fairytales, disasters, sex, horror, surrealism) and in her disquieting interpretations of well-established photographic genres, such as film stills, fashion photography and society portraiture. Delving relentlessly into the more grotesque extremes of delusion, vanity and self-image, Sherman probes deeply into the masks and distractions we all employ to set apart our public and our private personae, and challenges us to consider how bizarre and unconvincing our attempts at projecting a semblance of normality can be. Attracting a certain degree of notoriety, intense and ongoing public interest as well as extensive critical acclaim, Sherman's works continue to challenge and intrigue in equal measure. This richly illustrated publication deploys a selection of works from across her career to highlight and acknowledge these particular aspects of her art. These images are accompanied by more recent work, as well as essays from well-known authors, filmmakers and artists who likewise deal with the grotesque, the uncanny and the extraordinary in their practice.

In this new volume, Stephen Shore: Selected Works, 1973–1981, Aperture has invited an international group of fifteen photographers, curators, authors, and cultural figures-from Wes Anderson to Hans Ulrich Obrist-to curate selections of ten photographs each from a new cache of images from Shore's Uncommon Places archive.

Originally published in 1982, Stephen Shore's legendary Uncommon Places has influenced more than a generation of photographers. Shore was among the first artists to take color beyond the domain of advertising and fashion photography, and his large-format color work on the American vernacular landscape inaugurated a vital photographic tradition. Uncommon Places: The Complete Works, published by Aperture in 2005, presented a definitive collection of the landmark series, and in the span of a decade has become a contemporary classic. Now, for this lushly produced reissue, the artist has added nearly 20 rediscovered images and a statement explaining what it means to expand a classic series. Like Robert Frank and Walker Evans before him, Shore discovered a hitherto unarticulated vision of America via highway and camera. Approaching his subjects with cool objectivity, Shore retains precise systems of gestures in composition and light through which a hotel bedroom or a building on a side street assumes both an archetypal aura and an ambiguously personal importance. An essay by critic and curator Stephan Schmidt-Wulffen and a conversation with Shore by writer Lynne Tillman examine his methodology and elucidate his roots in Pop and Conceptual art. The texts are illustrated with reproductions from Shore's earlier series American Surfaces and Amarillo: Tall in Texas.

Mali Twist offers an essential and immersive survey of the beloved African photographer Malick Sidibé―nicknamed “the eye of Bamako”―who chronicled the exuberant youth culture of his native Bamako, Mali, in the 1950s, ‘60s and ‘70s. The book is structured around his famous series: studio portraits in which young people pose alone or in groups, sometimes accompanied by quirky accessories; photographs of parties that radiate spontaneity and joy; and the comparatively lesser-known outdoor photography, depicting scenes at (for example) the edge of the Niger River, or at local swimming pools and villages. In addition to these iconic series, many previously unpublished photographs are gathered here, as well as archival documents. The series are punctuated by the authors’ texts, including testimony from friends of the photographer. With elegant paper changes and fabulous printing, this volume is a celebration of the postwar African vernacular.

In this ambitious work, Hans Silvester turns his photographic eye toward ancient Africa, the birthplace of humanity. Silvester was essentially adopted by his subjects during his travels, and his stunning color photographs present a rare, intimate view of their world. The first volume of this deluxe two-volume set presents the everyday lives of the Omo people, their rituals, parades, children’s games, and even their battles. In the second volume, each photograph becomes a masterpiece of abstract art, revealing close-ups of the tribes’ traditional body paintings. Silvester’s accompanying text traces his journey to the Horn of Africa, revealing the fascinating beauty of a world now in danger of extinction.

The scene of tribal conflicts and guerrilla incursions, Ethiopia’s Omo Valley is also home to fascinating rites and traditions that have survived for thousands of years. The nomadic people who inhabit the valley share a gift for body painting and elaborate adornments borrowed from nature, and Hans Silvester has captured the results in a series of photographs made over the course of numerous trips. 160 color photographs

631Aaron Siskind (1903–1991) was a major figure in the history of American photography. A leading documentary photographer who was active in the New York Photo League in the 1930s, Siskind moved beyond the social realism of his early work as he increasingly came to view photography as a visual language of signs, metaphors, and symbols—the equivalent of poetry and music. Through the forties and ifties, he developed new techniques to photograph details and fragments of ordinary, commonplace materials. This radical new work transformed Siskind's image-making from straight photography to abstraction, from documentation to expressive art. His concern with shape, line, gesture, and the picture plane prompted immediate comparison with abstract expressionist painting, particularly with the art of Franz Kline and Robert Motherwell. It took some years for Siskind's unprecedented photography to gain full acceptance, but, by the 1970s, he was an acknowledged master, publishing and exhibiting widely. Siskind was also one of the founding donors who established the archive at the Center for Creative Photography.

140W. Eugene Smith, an icon in the field of twentieth-century photography, is best known as the master of the humanistic photographic essay. Smith’s most expressive and frequently reproduced images—World War II combat, the country doctor and nurse-midwife, Pittsburgh, Albert Schweitzer in Africa, rural Spanish villagers, and the mentally ill in Haiti—have altered our perception and understanding of the world.

140The American photojournalist W. Eugene Smith revolutionized the photo-essay form with the works he published in Life magazine between 1948 and 1956. This monograph reproduces images from six classic sequences of this era: Country Doctor (1948), which portrays the selfless and sometimes frustrating work of a doctor in rural America; Spanish Village (1950), perhaps the most powerful photographic study of 1950s Spain; Nurse Midwife (1951), which examines the life of a black woman in the American south; A Man of Mercy (1954), which documents Dr. Albert Schweitzer's humanitarian work in Africa; Pittsburgh (1955), Smith's first freelance assignment, previously unpublished; and Minamata 91971-1973), a photo-essay recording the effects caused by a mercury spill in a region inhabited by Japanese fishermen. Together, these six classic documents of twentieth-century photography affirm Smith as an impassioned conscience, with practical ends in mind for his work: "I put such passion and energy into my photographic work that, more than their being just for art's sake, I prefer to think that my photographs push someone to action, to do something, to solve something," he one wrote. This volume includes previously unpublished writings by Smith that elucidate his field techniques and guiding principles, as well as the memoir "A Walk to a Paradise Garden," which tells the tale of his most acclaimed photograph.

171Created over an almost 20-year span and drawing from 18 bodies of work, this is the first published monograph of Aline Smithson’s work and features her defining series Arrangement in Green and Black: Portrait of the Photographer’s Mother. From black-and-white to hand-painted photographs, this collection of portraits combines humor and family to create a universal expression of motherhood, to capture the essence of childhood, and to examine created realities, the poignancy of childhood, and the pathos of aging and relationships. She brings a background in painting and fashion to her images, but at the heart of her work is her ability to recognize the inner self of her subjects. The photographer considers all her portraits as a reflection of herself and the stories she wants to tell and in this way she has created a visual language that is her own unique autobiography.

941In French only

278By way of follow-up to his critically acclaimed debut monograph Sleeping by the Mississippi, Alec Soth turns his eye to another iconic body of water, Niagara Falls. And as with his photographs of the Mississippi, these images are less about natural wonder than human desire. "I went to Niagara for the same reason as the honeymooners and suicide jumpers," says Soth, "the relentless thunder of the Falls just calls for big passion." The subject may be hot, but the pictures are quiet, the rigorously composed and richly detailed products of a large-format 8x10 camera. Working over the course of two years on both the American and Canadian sides of the Falls, Soth edited the results of his labors down to a tight and surprising album. He depicts newlyweds and naked lovers, motel parking lots, pawnshop wedding rings and love letters from the subjects he photographed. We read about teenage crushes, workplace affairs, heartbreak and suicide. Oscar Wilde wrote, "The sight of the stupendous waterfall must be one of the earliest, if not the keenest, disappointments in American married life." Niagara brings viewers both the passion and the disappointment--a remarkable portrayal of modern love and its aftermath.

278Evolving from a series of road trips along the Mississippi River, Alec Soth's Sleeping by the Mississippi captures America's iconic yet oft-neglected "third coast." Soth's richly descriptive, large-format color photographs present an eclectic mix of individuals, landscapes, and interiors. Sensuous in detail and raw in subject, Sleeping by the Mississippi elicits a consistent mood of loneliness, longing, and reverie. "In the book's 46 ruthlessly edited pictures," writes Anne Wilkes Tucker, "Soth alludes to illness, procreation, race, crime, learning, art, music, death, religion, redemption, politics, and cheap sex." Like Robert Frank's classic The Americans, Sleeping by the Mississippi merges a documentary style with a poetic sensibility. The Mississippi is less the subject of the book than its organizing structure. Not bound by a rigid concept or ideology, the series is created out of a quintessentially American spirit of wanderlust.

278Known for his haunting portraits of solitary Americans in Sleeping by the Mississippi and Broken Manual, Alec Soth has recently turned his lens toward community life in the country. To aid in his search, Soth assumed the increasingly obsolescent role of community newspaper reporter. From 2012-2014, Soth traveled state by state while working on his self-published newspaper, The LBM Dispatch, as well as on assignment for the New York Times and others. From upstate New York to Silicon Valley, Soth attended hundreds of meetings, dances, festivals and communal gatherings in search of human interaction in an era of virtual social networks. With Songbook, Soth has stripped these pictures of their news context in order to highlight the longing for connection at their root. Fragmentary, funny and sad, Songbook is a lyrical depiction of the tension between American individualism and the desire to be united. Alec Soth (b. 1969) is a photographer born and based in Minneapolis, Minnesota. His photographs have been featured in numerous solo and group exhibitions, including the 2004 Whitney and Sao Paulo Biennials. In 2008, a survey exhibition of Soth's work was exhibited at Jeu de Paume in Paris and Fotomuseum Winterthur in Switzerland. In 2010, the Walker Art Center produced a traveling survey exhibition of Soth's work entitled From Here To There. Soth has been the recipient of numerous fellowships and awards, including the Guggenheim Fellowship (2013). In 2008, Soth founded his own publishing company, Little Brown Mushroom. Soth is represented by Sean Kelly in New York, Weinstein Gallery in Minneapolis, Fraenkel Gallery in San Francisco, and is a member of Magnum Photos.

544Bordello is pure seduction. The images presented by internationally renowned photographer Vee Speers are inspired by the 1920s - an era of extravagant life style and sexual decadence. Shot in French bordellos, perfectly orchestrated and artistically adapted, the photographs take the viewer into the world of temptation - erotic, lascivious, and nostalgically arranged. Music CDs: French chansons, by Edith Piaf, Charles Trenet, Yves Montand, Lucienne Boyer, Damia, and Frehel musically emphasize this electrifying world of images. She shows beauty where beauty can be terribly absent. Karl Lagerfeld.

544For the past fifteen years, Vee Speers has been based in Paris, working in fashion, photojournalism, and fine art photography. Widely exhibited throughout Europe, the United States, Brazil, Mexico, Japan, and Australia, her work has also been seen in publications including The Sunday Times, Harpers+Queen, GQ, Arena, and Esquire Susan Bright is an independent curator and writer on photography. Author of the highly successful book 'Art Photography Now' (Thames & Hudson, 2006), she has worked with the National Portrait Gallery and Tate Britain. Recent curatorial projects include Face of Fashion for the National Portrait Gallery, London, and 'How We Are: Photographing Britain' (co-curated with Val Williams) for Tate Britain, London.

The acronym "PIGS" is a media-coined term referring to the European Union's economically weakest countries--Portugal, Italy, Greece and Spain. Carlos Spottorno's The Pigs is a tragicomic vision of these countries' stereotypes, utilizing the format of the influential magazine The Economist.

84Throughout a year, Chris Steele-Perkins photographed at Holkham Hall, a 23,000 acre estate set on the Norfolk coast with a history stretching back to the 1700s. He photographed not only the various activities there, from hunting and shooting through to concerts and weddings, but also groups of workers that form the backbone of day to day life on the Estate.

84"Afghanistan" is introduced by the French essayist and traveller André Velter and includes essays and verses by the Afghani poet Sayd Bahodine Majrouh, who was assassinated in Pakistan in 1988. 76 duotone photographs.

84Chris Steele-Perkins, internationally acclaimed and award-winning Magnum photographer, has collected over 40 years of images which encapsulate what it means to be English. These natural and authentic photographs are a personal selection of the best and most important of Chris's images that he has taken over 40 years of photographing in England.

84Fuji as seen by Chris Steele-Perkins emerges as a meditation about modern Japan and Japanese life. The exquisite images offer a fresh and surprising view of Japan’s iconic mountain and an understanding of Japanese worldview as seen by an outsider who has penetrated its diversity with astounding clarity, metaphysical insight, and profound complicity.

84'The New Londoners' is a powerful celebration of London's unique cultural richness, and of the diversity that is the hallmark of this great city. Chris Steele-Perkins has photographed 165 families from almost 200 different countries, all of whom have made their homes in London. These are beautiful and powerful portraits with each family photographed in their homes. Accompanied by insightful interviews we learn of the varied experiences of these families from across the globe. 'The New Londoners' is a plea for tolerance and for openness of heart. At a time when social and political divisions seem to be opening up across the UK, it is a timely reminder both of the important role that immigration has played in our country as well as the rich and valued diversity that is the hallmark of our capital city and which makes London such a special place.

84The Teddy Boys were a flashily dressed, rebellious and sometimes violent youth movement that originated in Britain in the '50s. The three-quarter-length Edwardian jacket with velvet collar, drainpipe trousers and quiff became a focus of male fashion which still holds cult status today. The Teds combines image and text to tell their story - a fascinating tale spanning three decades.
Chris Steele-Perkins is a member of the prestigious Magnum Photos. He has published eight books and exhibited worldwide. His reportages have received high public acclaim and won several awards, including the Tom Hopkinson Prize for British Photojournalism, the Oscar Barnack Prize, the Robert Cappa Gold Medal and a World Press Award.

112Photographically illustrated matt laminated wrappers with French folds, with title stamped in silver on cover and spine. Photographs and paintings by Edward Steichen. Text by Barbara Haskell. Includes a chronology (compiled by Anne Lampe), a list of exhibitions Steichen curated at the Museum of Modern Art, a selected bibliography and a list of works in the exhibition. Designed by Makiko Ushiba. 128 pp., with 22 color plates and numerous additional reference illustrations finely printed in Rhode Island by Meridian Printing Company. 11 x 9 inches. Published on the occasion of the 2000-2001 exhibition Edward Steichen at the Whitney Museum of American Art, New York.

112Edward Steichen was already a famous painter and photographer in America and abroad when, in early 1923, he was offered the most prestigious position in photography's commercial domain: that of chief photographer for Vogue and Vanity Fair.Over the next fifteen years, Steichen would produce a body of work of unequaled brilliance, dramatizing and glamorizing contemporary culture and its achievers in politics, literature, film, sport, dance, theater, opera, and the world of high fashion. Here are iconic images of Gloria Swanson, Gary Cooper, Greta Garbo, and Charlie Chaplin as well as numerous other celebrities drawn from an archive of more than two thousand original prints. Until now, no more than a handful have been exhibited or published in book form. The photographs of the 1920s and 1930s represent the high point in Steichen's career and are among the most striking creations of twentieth-century photography.

112Edward Steichen (1879-1973) is unquestionably one of the most prolific, influential, and indeed controversial names in the history of photography. He was admired by many for his achievements as a fine-art photographer, while impressing countless others with the force of his commercial accomplishments. The influence of his legendary exhibition, The Family of Man, is still felt. This volume traces Steichen’s career trajectory from his Pictoralist beginnings to his time with Condé Nast through his directorship of photography at the Museum of Modern Art. Hundreds of his photographs are reproduced in stunning four-color to reveal the complexities and nuances of these black-and-white images. Essays from a range of scholars explore his most important subjects and weigh his legacy. Contributors include A. D. Coleman, Joanna T. Steichen, and Ronald Gedrim. With a full bibliography and chronology, this is the most complete and wide-ranging volume on Steichen ever published.

926Walking down the street in the heart of New York City is an experience that can't be duplicated anywhere else in the country, perhaps even the world. One merges into the impromptu flow and is carried along by the ongoing current of migratory souls. Harvey Stein documents the iconic areas of Midtown and Downtown Manhattan in 172 beautiful black-and-white photographs taken over 41 years, from 1974 through 2014. The photographs are intimate and personal. They document the close encounter between the photographer and his subjects while showing the mutuality between people. The black-and-white images enhance the sense of the past. To heighten the feeling of movement, anxiety, and vigor, blur, grain, low-angle flash, skewed perspectives, tight cropping, and wide-angle views are employed. The images sweep the viewer into the experience and feel of walking the streets of New York City.

On the occasion of Blondie’s fortieth anniversary, Chris Stein shares his iconic and mostly unpublished photographs of Debbie Harry and the cool creatures of the ’70s and ’80s New York rock scene. While a student at the School of Visual Arts, Chris Stein photographed the downtown New York scene of the early ’70s, where he met Deborah Harry and cofounded Blondie. Their blend of punk, dance, and hip-hop spawned a totally new sound, and Stein’s photographs helped establish Harry as an international fashion and music icon. In photos and stories direct from Stein, brilliant writer of hits like "Rapture" and "Heart of Glass," this book provides a fascinating snapshot of the period before and during Blondie’s huge rise, by someone who was part of and who helped to shape the early punk music scene—at CBGB, Andy Warhol’s Factory, and early Bowery. Stars such as David Bowie, the Ramones, Joan Jett, and Iggy Pop were part of Stein’s world, as were fascinating downtown characters like Jean-Michel Basquiat, Richard Hell, Stephen Sprouse, Anya Phillips, Divine, and many others. As captured by one of its greatest artists and instigators, and designed by Shepard Fairey, this book is a must-have celebration of the new-wave and punk scene, whose influence on music and fashion is just as relevant today as it was four decades ago.

926Since 1970, when world-renowned photographer Harvey Stein first turned his discerning eye toward Coney Island, his love affair with this New York beachfront amusement park began to grow. Over 200 compelling black and white photos tell the tale of his 40-year romance with this iconic locale. Entering Coney Island through his lens is like stepping into another culture, capturing the lives and times of those who work and play there. There is a sense of adventure, a thrilling escape from daily worries, and much pleasure, whether riding the jarring Cyclone roller coaster, walking the boardwalk, viewing the Mermaid Parade, or sunbathing on the beach. Coney Island, America's first amusement park, is celebrated worldwide. It is a fantasyland of the past with an irrepressible optimism about its future.

926Well-known New York photographer Harvey Stein documents the humanity and spirit of the people of Harlem in 166 beautiful black and white photographs taken over 23 years, from 1990 to 2013. The images are mostly close-up portraits that reveal the friendliness and warmth of this city's inhabitants, the vibrant and bustling vitality of the area, and the changing nature of the neighborhood. What may at first appear to be a casual encounter becomes a personal, intimate record, a meaningful collaboration between photographer and subject. With a population of nearly half a million people, Harlem is America's most celebrated African-American neighborhood. Its rich past and historical importance have made a unique contribution to our national popular culture. Stein's photographs capture and celebrate the Harlem spirit.

926During fourteen trips between 1993 and 2010, Harvey Stein photographed in Mexico, primarily in small towns and villages and mostly during festivals (Day of the Dead, Easter, Independence Day) that highlight the country's unique relationship to death, myth, ritual and religion. This book is the definitive expression of Stein's intimate relationship with the people and culture of Mexico. The images show fragments of what Mexico is, a country of incredible contrasts and contradictions. Mexico is about piercing light and deep shadow, of stillness and quick explosiveness, of massive tradition and creeping progress, of great religious belief but with corruption as a way of life. It is a land of ritual and legend, of vibrant life and dancing skeletons, a country next to the United States yet so far away, and with over 50 percent of its population under 20 years old but where old age is revered. In these masterful photo series, Mexico - Between Life and Death Stein explores these unsettling disparities.
Send an email to hsteinfoto@aol.com to purchase the book directly.

926Movimento: Glimpses of Italian Street Life looks at the mosaic of daily life in Italy - the intimate, short-lived moments that occur in public and reveal the sensuous and the humorous, the ordinary and the mysterious.
The photographs reflect more than the passionate personal vision of the photographer, author and teacher who has visited and worked in Italy for the last 10 years. The images are a window on what is both special and even magical about Italian life - they give us a sense of the fleeting and enormously rich moments in our own lives. They show the realities and the turmoil of living, being, moving and getting along. The stories the images tell are almost always a bit ambiguous - just the way lives lived are. As a result, we become totally engaged in the stories told and imagined.

On the occasion of Blondie’s fortieth anniversary, Chris Stein shares his iconic and mostly unpublished photographs of Debbie Harry and the cool creatures of the ’70s and ’80s New York rock scene. While a student at the School of Visual Arts, Chris Stein photographed the downtown New York scene of the early ’70s, where he met Deborah Harry and cofounded Blondie. Their blend of punk, dance, and hip-hop spawned a totally new sound, and Stein’s photographs helped establish Harry as an international fashion and music icon. In photos and stories direct from Stein, brilliant writer of hits like "Rapture" and "Heart of Glass," this book provides a fascinating snapshot of the period before and during Blondie’s huge rise, by someone who was part of and who helped to shape the early punk music scene—at CBGB, Andy Warhol’s Factory, and early Bowery. Stars such as David Bowie, the Ramones, Joan Jett, and Iggy Pop were part of Stein’s world, as were fascinating downtown characters like Jean-Michel Basquiat, Richard Hell, Stephen Sprouse, Anya Phillips, Divine, and many others. As captured by one of its greatest artists and instigators, and designed by Shepard Fairey, this book is a must-have celebration of the new-wave and punk scene, whose influence on music and fashion is just as relevant today as it was four decades ago.

900To the true rail fan, Richard Steinheimer is an authentic hero, the best of the best. This, the first full-length celebration of his work, presents 160 of his duotone images, with an introduction by Jeff Brouws. A pioneer in train photography, Steinheimer lived through and documented the railroad's heyday and its decline. He is one of very few photographers who appreciate the aesthetics of all locomotives, from steam engines to the latest diesel-powered behemoths. He has a particular fondness for the landscape of the American West, and many of his images situate trains in the larger geography and culture of the time. Known for taking pictures at night, in bad weather, and from risky perches on top of moving train platforms, Steinheimer has an enormous creativity and productivity.

900Within the pages of this acclaimed volume, America¹s most celebrated railroad photographer, Richard Steinheimer, directed his talents to the immensely popular subject of the Milwaukee Road electrification. After years of preparation and visits to the region, Steinheimer provided the reader with a visual and written record of the the life and times of this venture in electric traction. The result was an outstanding volume of railroad atmosphere and history, out of print within a few years of its 1980 publication. Now the book returns in a new edition, with 20 additional Steinheimer photographs, including 12 in color, along with other material to enrich this fine book.

498Bert Stern, the famous commercial and fashion photographer of the 60s, was the last to be granted a sitting by Marilyn Monroe six weeks before her tragic death. The three-day session yielded amazing pictures—fashion, portrait, and nude studies—of indescribable sensual and human vibrancy, of which Mr. Stern’s favorites are published in this book.

22Highlights from Stieglitz's legendary photo journal (1903-1917) "This has to be the 'must buy' book of the decade—no photographic library will be complete without it. " - mono, UK Photographer, writer, publisher, and curator Alfred Stieglitz (1864-1946) was a visionary far ahead of his time. Around the turn of the 20th century, he founded the Photo-Secession, a progressive movement concerned with advancing the creative possibilities of photography, and by 1903 began publishing Camera Work, an avant-garde magazine devoted to voicing the ideas, both in images and words, of the Photo-Secession. Camera Work was the first photo journal whose focus was visual, rather than technical, and its illustrations were of the highest quality hand-pulled photogravure printed on Japanese tissue. This book brings together a broad selection from the journal’s 50 issues.

22Alfred Stieglitz was one of the most important cultural forces in twentieth-century America. As founder of the Photo Secession movement and editor of the influential Camera Work he eschewed the prevailing “artiness” of pictorialist photography, preferring clarity of vision and “crystallized awareness.” In galleries such as “291” and An American Place he showed and championed the work of modern artists from the US and Europe. As a photographer, editor, and gallery director Stieglitz was a powerful influence on photography and on American art in general.

325In 1968, Magnum photographer Dennis Stock took a 5-week road trip along the California highways, documenting the height of the counterculture hippie scene. These black and white photos were compiled to create California Trip, originally published in 1970, and became an emblem of the free love movement that continued to inspire throughout the decades. In print for the first time since its 1970 publication, California Trip is a faithful reproduction of Stock's timeless work.

113Paul Strand: Sixty Years of Photographs, a long-unavailable Aperture classic, is one of the most comprehensive surveys of the power and force of a major photographic figure of our time. Before his death in 1976 at age eighty-five, Strand combed his photographic prints and his many books with an eye to the completion of this volume. Seen here is the summation of a lifework, from the first abstract photographs to the series of plant photographs taken in the last years of his life. Also included is a rarely examined series of filmsUbrilliant, unprecedented documentaries that foreshadowed Italian neo-realism and the new cinema of the post-war years. The re-release of this volume, which features the famous biographical profile by Calvin Tomkins and excerpts from Strand's correspondence, interviews, and other documents, makes one of photography's major artists newly accessible.

With little formal training as a photographer or artist, Zoe Strauss (b. 1970) founded the Philadelphia Public Art Project in 1995 with the aim of exhibiting art in nontraditional venues. Five years later, she began using photography as the most direct means of representing her chosen subjects. Zoe Strauss: 10 Years offers a midcareer assessment of Strauss's achievement to date, and the first full account of her celebrated ten-year project, beginning in 2001, to exhibit her photographs under an elevated section of Interstate 95 in Philadelphia.

619ikhael Subotzky and Patrick Waterhouse worked at Ponte City, the iconic Johannesburg apartment building which is Africa's tallest residential skyscraper, for more than six years. They photographed the residents and documented the building-every door, the view from every window, the image on every television screen. This remarkable body of images is presented here in counterpoint with an extensive archive of found material and historical documents. The visual story is integrated with a sustained sequence of essays and documentary texts. In the essays, some of South Africa's leading scholars and writers explore Ponte City's unique place in Johannesburg and in the imagination of its citizens. What emerges is a complex portrait of a place shaped by contending projections, a single, unavoidable building seen as refuge and monstrosity, dreamland and dystopia, a lightning rod for a society's hopes and fears, and always a beacon to navigate by. This long-term project obtained the Discovery Award at Les Rencontres d'Arles in 2011.

886From sunrise to sunset, on the famous promenade and surrounding alleys in the resort town on the Irish Sea, the Russian-American-Berliner Benita Suchodrev lets life unfold before her camera. Relying on her intuition, during a couple of summer days the photographer documents her encounters with strangers. Her manner is daring and swift, always capturing the 'decisive moment.' Like all her documentary and portrait work, housed in private collections in Berlin, Moscow, and New York, the high-contrast black-and-white photographs in 48 Hours Blackpool are intense and devoid of sensationalism. Suchodrev's debut book is a sociocultural study rich in authenticity and poetry; a contemporary but timeless journey of discovery through bingo parlors, hot dog stands, and burlesque theaters where wacky types, moms and pops, kids and seagulls go to play.

886The tourist season is over, the promenade is empty and Brexit is at the door when Benita Suchodrev returns to the British coastal town of Blackpool to photograph the hidden reality behind the famous Amusement Mile. She leads us to local churches, soup kitchens, youth shelters, old age homes and impoverished neighbourhoods, meets bizarre characters, underage mothers, drug-addicts, artists, and hermits. She photographs strangers on train platforms, homeless people in torn rags feasting on ham sandwiches and coffee under a dark overpass, closed storefronts and deserted alleys on a rainy night. Poetic, rough and authentic, Of Lions and Lambs is a sequel to Suchodrev's successful debut 48 Hours Blackpool (Kehrer Verlag 2018), the sequel to a story that begins where illusions end.

139During a legendary career that spanned almost six decades, Czech photographer Josef Sudek, the “poet of Prague,” developed a craftsmanship and technical virtuosity that was unparalleled among his contemporaries. Early in his career, though the prevailing art movements of the 1920s and ’30s included cubism, surrealism, and the Czech avant-garde, Sudek sought his own approach characterized by a striking mastery of light. Copiously illustrated with photographs from the Art Gallery of Ontario—which will also exhibit the photographs through December 2012—this book takes readers on a journey through Sudek’s life and work. Included here are essays by some of the foremost writers on Sudek’s work, including curator Maia-Mari Sutnik, photo-historian Antonín Dufek, Canadian Art editor Richard Rhodes, and photographer Geoffrey James. Sudek’s photographs also feature heavily in Irish novelist John Banville’s Prague Pictures: Portraits of a City, which forms a biographical portrait of the photographer, and several excerpts from the book are included here. Rounding out the volume is a detailed biographical chronology by Czech art historian and Sudek expert Anna Fárová. The photographs in this book cover every stage of Sudek’s extensive career, shedding light on his lifelong quest to perfect his photographic vision.

139Josef Sudek (1896-1976) was Prague's Atget. From the mid-1920s until his death in 1976, Sudek photographed everything-the Gothic and Baroque architecture, the streets and objects-usually leaving the frame free of people. Because he was reclusive, a large portion of Sudek's work was captured through his studio window: he was particularly fond of how the glass refracted light. The Window of My Studio series, spanning from the beginning of the Second World War to the first half of the 1950s, presents the series, which was of fundamental importance to Sudek, for it caused his work to move further into a surreal or Magic Realist style, with blurred images and strong shadows. Photography historian Anna Fárová contributes an introduction and an extensive biographical chronology to this volume-now back in print-which also includes a complete bibliography of portfolios, books and catalogues of Sudek's work.

52Hiroshi Sugimoto (born 1948) began his four-decade-long series Dioramas in 1974, inspired by a trip to the American Museum of Natural History in New York. Surrounded by the museum's elaborate, naturalistic dioramas, Sugimoto realized that the scenes jumped to life when looked at with one eye closed. Recreated forestry and stretches of uninhabited land, wild, crouching animals against painted backgrounds and even prehistoric humans seemed entirely convincing with this visual trick, which launched a conceptual exploration of the photographic medium that has traversed his entire career. Focusing his camera on individual dioramas as though they were entirely surrounding scenes, omitting their frames and educational materials and ensuring that no reflections enter the shot, his subjects appear as if photographed in their natural habitats. He also explores the power of photography to create history--in his own words, "photography functions as a fossilization of time." Hiroshi Sugimoto: Dioramas narrates a story of the cycle of life, death and rebirth, from prehistoric aquatic life to the propagation of reptile and animal life to Homo sapiens' destruction of the earth, circling back to its renewal, where flora and fauna flourish without man. Here Sugimoto writes his own history of the world, an artist's creation myth.

52Genius of the large-format camera, the long exposure and the silverprint, New York-based photographer Hiroshi Sugimoto has made pictures that seem to contain whole aeons of time within themselves, and suggest an infinite palette of tonal wealth in blacks, grays and whites. Many of these images have now become a part of art culture's popular image bank (as U2's use of Sugimoto's "Boden Sea" for the cover of their 2009 album, No Line on the Horizon, demonstrated), while simultaneously evoking photography's earliest days: "I probably call myself a postmodern-experienced pre-postmodern modernist," he once joked to an interviewer. This absolutely exquisite retrospective is an expanded edition of Hatje Cantz's 2005 volume. It is the first to feature works from all of Sugimoto's series to date: his celebrated portraits of wax figures, his incredible seascapes that seem to suggest a person's first conscious view of the ocean, the extremely long exposures of theaters which elevate the white, luminescent cinema screen and transform it into a magical image of an altar and the fascinating dioramas of scientific display cases, which invite us to travel far into the past. Additions to the original edition are two new groups of works, "Lightning Fields" (2006) and "Photogenic Drawings" (2007).

52This catalog, produced in conjunction with Sugimoto's upcoming exhibition at the Izu Photo Museum in Japan, documents this important artist's recent investigations on the science and the presentation of photography. Documenting in detail Sugimoto's architectural and landscape design of the new Izu Photo Museum, the book is at once a reinvention of the artist as architect, as it is an insightful guide to Sugimoto's interest in the earliest beginnings of photography. Instigated by the urging of his friend, Pop art icon Richard Hamilton, Sugimoto went to England to visit the museum of William Henry Fox Talbot, the inventor of the negative/positive photographic process. Finding common ground with Talbots' polymathic interests in art and science, this book details images from Sugimoto's Photogenic Drawing Talbot pieces, where Sugimoto reinterprets 15 unprinted negatives from Talbot's early studies, as well as 15 images from the artist's Lightning Field series. Includes text by critic Minoru Shimizu.

52For more than 30 years, Hiroshi Sugimoto has traveled the world photographing its seas, producing an extended meditation on the passage of time and the natural history of the earth reduced to its most basic, primordial substances: water and air. Always capturing the sea at a moment of absolute tranquility, Sugimoto has composed all the photographs identically, with the horizon line precisely bifurcating each image. The repetition of this strict format reveals the uniqueness of each meeting of sea and sky, with the horizon never appearing exactly the same way twice. The photographs are romantic yet absolutely rigorous, apparently universal but exceedingly specific. The second in a series of luxurious, beautifully produced volumes each focused on specific bodies of Sugimoto's work, Seascapes presents the complete series of more than 200 Seascapes for the first time in one publication. Some of the photographs included have never before been reproduced.

52In 1990, photographer Hiroshi Sugimoto visited the seas of New Zealand. On one particular deserted beach, he discovered hundreds of car parts, probably from the 1960s, disintegrated and corroded by decades under the waves. Photographing them individually, he imagined that human civilization had ended, thinking that the sight of crafted objects rotting away is at once dreadful and beautiful. This series of heavily black-and-white images of decaying metal on the sand are reproduced in this large-format photo book, accompanied by an introspective text by Sugimoto on the nature of the sea and the inexorable, practically incomprehensible, passage of time.

52Hiroshi Sugimoto here turns to the wax figures he first explored in his Dioramas series. Combining poetic imagination and noble elegance, this body of work presents life-size black-and-white portraits of historical figures--Henry VIII, each of his six wives and Oscar Wilde, among others--photographed in wax museums and dramatically lit so as to create haunting images. Featuring an interview with the artist by Tracey Bashkoff and essays by Carol Armstrong, Norman Bryson, Thomas Kellein and Nancy Spector, this book offers fresh insights into the work of this important contemporary artist. Portraits was created specially for the Deutsche Guggenheim Berlin and was exhibited at the former Guggenheim Soho.

256For 26 years, Elisabeth Sunday has found her muse in Africa: a place of origins, devastating beauty, great troubles and unyielding expressions of life. She has traveled alone and lived among various original peoples who amidst a changing world, have clung tenaciously to traditional ways of life. From the hunter-gatherers dwelling in the primeval forests of the Congo Basin, to the nomadic tribes inhabiting the vast stretches of the Sahara Desert, Sunday's photographs reveal an interplay of invisible forces that connect her subjects with the world of nature. Utilizing a flexible mirror of her own design, Sunday photographs reflections that blend and dissolve the boundaries between her figures and their environment. Sunday's images express an intimacy with a corresponding strength derived from that relationship. She writes: "Mirror photography is much more than photographing a reflection, it produces a visual alchemy that combines the physical world with that of the great mystery . . . and captures some element that remains hidden in straight photography." Elisabeth Sunday's work has been widely exhibited and collected throughout the United States and abroad. "Grace", the artist's first monograph, opens with an eloquent and enlightening essay by Deborah Willis. The book is printed in an oversized (14 x 17 inch) format on uncoated art paper and bound in Japanese cloth. This first printing is limited to 1,000 copies.

606Mária Švarbová offers a breath of fresh air in the photography world. She has a distinctive style that departs from traditional portraiture and focuses on experimentation with space, color, and atmosphere, which places itself neither in the past nor in the future. FUTURO RETRO is a transcendental and timeless series of images from the artist which evokes a traditional setting with sci-fi elements and follows from the immense success of her first photography book, Swimming Pool. Mária has a wonderfully individual style which moves away from the conventional. The socialist era and its architecture, public spaces and colour are hugely inspirational and this has been admired across the world in solo exhibitions and press on a global scale.

606There is almost a theatrical quality to the highly controlled sceneries that Maria captures. The figures are mid-movement, but there is no joyful playfulness to them. Frozen in the composition, the swimmers are as smooth and cold as the pools tiles. The colors softly vibrate in a dream-like atmosphere. Despite the retro setting, the pictures somehow evoke a futuristic feeling as well, as if they were taken somewhere completely alien.