In the seventies, a group of American photographers challenged the established, modernist mode of photographic expression. Instead of viewing the camera as an objective, optical device and photographs as mechanically reproducible artistic products, the proponents of the new staged photography' seized the possibilities of conveying holistic life experiences by employing a full range of sensory impressions. In Impure Vision, photography theorist Moa Goysdotter analyses the work of four of the leading names in this new genre -- Les Krims, Duane Michals, Arthur Tress, and Lucas Samaras. Applying new perspectives to Seventies' art photography, she sheds fresh light on the four artists' critiques of purist ideals, and looks closely at their efforts to transcend the limitations of the purely visual effect of photography. Impure vision not only tells the history of American staged photography in a broad perspective, drawing on theories and methods new to the field, but also puts forward new approaches to photography history and theory in general.

Throughout the world, the American West has defined the character of the United States of America as no other region in America ever could. The combination of awe-inspiring topography and landscapes, from the 100th meridian to the Pacific Coast, along with the integration of Indian and Hispanic cultures into the American fabric of life have long inspired citizens of the world to travel to and explore the vast lands that define the American West, from the middle of the nineteenth century to the present time. Photography helped to open up the West after the American Civil War by sharing views of nature unparalleled in any other place on Earth. And photography helped to create the beginning of a national park system that may well go down in history as America's greatest democratic ideal. It is no wonder that public lands have come to dominate the American West, from national parks to national grasslands and wildlife refuges, from national forests to national monuments and historical sites, from wild and scenic rivers to other sanctuaries of wilderness. Willy Sutton has spent much of the past thirty years getting out of his truck and into the landscape, taking his camera to places of natural wonder both well known and obscure. He has assembled one of the great photographic bodies of work dealing with the public lands of the American West, providing a glimpse of what these landscapes looked like before they were designated as national treasures. But, of course, because of their preservation, they are available to all citizens of the world today. Whether one has lived in or visited the West for an entire lifetime, or whether one is coming to the West for the very first time, all readers of this book will find in Sutton's photographs a magisterial guide to what makes the West so unique, so special. As essayists Toby Jurovics and Susan B. Moldenhauer make plain, Willy Sutton's photographs, as represented in this book, will long be held in esteem for the pioneering work they embody, even in this contemporary age dominated by urban development, social and economic inequality, and climate change. At Home in the West:The Lure of Public Land is a book for the ages.

"I am not sure there is any other pair of monosyllabic words in the English language that evokes as powerful a sense of place as Wall Street, except, of course, New York itself." So writes famed architectural critic Paul Goldberger in his introduction to one of the most important photographic books on New York City to appear since 9/11: David Anderson's On Wall Street. During the 1970s, a lot of glass-and-steel, boxlike buildings were going up in New York City. David Anderson realized that the architecturally elaborate and stylistic buildings of the late nineteenth century through the 1930s that defined Wall Street would never be made again. He thus embarked on a remarkable twenty-year project (from 1980 to 2000) to document Wall Street's classic architecture before further changes were made in the area, including the demolition and destructive renovation of too many historic structures.

A mysterious little character can be seen on scene 10 of the famous Bayeux Tapestry. His name is Turold. In this activity booklet, Turold tells you the same story as the one related on the Bayeux Tapestry, from which the 12 scenes reproduced here by Gilles Pivard have been freely inspired. On each page, the illustration contains one or many little Turolds for you to find... You'll need an eagle eye to spot them all!

Mae Murray (1885--1965), popularly known as "the girl with the bee-stung lips," was a fiery presence in silent-era Hollywood. Renowned for her classic beauty and charismatic presence, she rocketed to stardom as a dancer in the Ziegfeld Follies, moving across the country to star in her first film, To Have and to Hold, in 1916. An instant hit with audiences, Murray soon became one of the most famous names in Tinseltown. However, Murray's moment in the spotlight was fleeting. The introduction of talkies, a string of failed marriages, a serious career blunder, and a number of bitter legal battles left the former star in a state of poverty and mental instability that she would never overcome.In this intriguing biography, Michael G. Ankerich traces Murray's career from the footlights of Broadway to the klieg lights of Hollywood, recounting her impressive body of work on the stage and screen and charting her rapid ascent to fame and decline into obscurity. Featuring exclusive interviews with Murray's only son, Daniel, and with actor George Hamilton, whom the actress closely befriended at the end of her life, Ankerich restores this important figure in early film to the limelight.

The Nobile Index is a series of monographic publications of art sales prices achieved at auction, for a selection of leading 20th-century British artists. They involve the collaboration of a commercial art dealership, Piano Nobile Works of Art and the University of Bristol's History of Art Department; bringing together academic and commercial expertise on the artists for the benefit of those with an interest in their work. They are funded by the generosity of a private benefactor. The studies are confined to analyses of auction art sales results from 1990 to the time of the study. Although largely from UK sales, data supplied by international salerooms are also included. Graphs and interpretations of these figures are analysed and significant trends and buying patterns revealed. It is envisaged that this data will be of growing value to private and corporate clients, museums and fine art funds. Accurate commercial appraisal has always played an important role in the consideration of new acquisitions throughout the history of art. No more so than today is this seen with the fluctuating, but ever more significant rise in value commanded by the best of many 20th-century artists' work. This publication of the Nobile Index Series, written by Rhian Addison, who gained a Masters degree from Bristol University in History of Art, focuses on the sales history of L.S. Lowry, one of the most important British artists of the twentieth century, an idiosyncratically home-grown artist with a specifically British vision. Evaluating general market trends, genres, and media amongst other factors, Rhian Addison's investigation provides an invaluable source of information on L.S. Lowry as an artist and the legacy and future of his work within the art market. The publication come in two sections - an introduction, results and analysis and a booklet insert of appendices.

Hands On: The Art of Crafting in Ireland details the history of more than forty eclectic crafts, from basket making to woodturning, and provides concise information on where to see them, where to learn them and what’s involved. With over 150 images showcasing the extraordinary work of craftspeople from across Ireland, as well as insightful contributions from acclaimed writer, Jeanette Winterson and the Crafts Council of Ireland, Sylvia Thompson’s book is the first of its kind to offer a comprehensive guide to craft in Ireland. A lavishly illustrated volume containing everything you need to know about the traditional and innovative techniques involved in Irish craft, Hands On is sure to be an indispensable resource for beginners and experts alike.

Infinite Measure is both a creative workbook and an authoritative reference guide for teachers, students, and practitioners of design, including architecture, interior design, landscape architecture, painting, sculpture, the graphic arts, theater and stage design, and even musical instruments and crafts. Taking pages from books of nature, art, and architecture, Fletcher provides visual designers of all art forms and disciplines with geometric methods for composing harmonious spaces and places. Fletcher shares her professional knowledge and experience by offering practical techniques for design applications, including step-by-step elementary and advanced drawings for producing proportional schemes with a compass and rule; commentaries on geometric symbols and useful theorems; definitions; and etymologies of essential mathematical terms. A highlight of the book are Fletcher's original studies that analyze harmonious proportions in world-famous art, architecture, landscape design, and other compositions. These include the South Rose Window at Cathédrale Notre Dame de Paris, Andrea Palladio's Villa Emo and Teatro Olimpico, a Stradivari violin, Thomas Jefferson's Poplar Forest, Beatrix Farrand's garden courtyard for the Oriental Institute at the University of Chicago, the illuminated Lindisfarne Gospels, a Louis Sullivan stencil for the Chicago Stock Exchange, and Eero Saarinen's North Christian Church. The desire for harmony is universal among all cultures. In Infinite Measure, we rediscover a fundamental starting point for designers of all ages and skills: the simple act of drawing with a compass and rule―as Frank Lloyd Wright famously taught his architecture apprentices at Taliesin and Taliesin West―can sensitize the designer to the rich subtleties of spatial harmony and proportion, no matter how one ultimately chooses to express it.

Laurie Brown has long been fascinated with what happens at the edge of cities. In her pioneering, photographic work on Los Angeles, her focus was on the terraforming activities in that quintessential modern metropolis, where nature is literally scraped away and terraced to accommodate the most recent version of the American Dream: more roads and highways, more residential and commercial developments, more golf courses and city services, more pressure on the natural systems that undergird the city and region. It was only natural that Brown would turn her artistic attention to the eastern end of the Los Angeles corridor--Las Vegas--and she does so in full, living color. Few other places engender such a common image of excess and extravagance as does Las Vegas. But Brown reminds us that what makes Las Vegas such an alluring place to live and to visit is its location in the austere but beautiful landscapes of North America's driest and sunniest region: the magnificent Mojave Desert. As Las Vegas has expanded, the contrast between the native desert and recent human terrain is a palpable fact that Brown captures brilliantly in her panoramic format. In each photograph we see the impact of our newest designs and constructions on the land, raising questions about the availability of scarce natural resources and, ultimately, the wisdom of our vision for the place. By finding the interface between nature and culture that exists in these so-called paradisal environments, Laurie Brown takes us on a modern journey on a well-worn path in Western civilization: the pushing out of the city that emerged in ancient Greece and Rome and extended beyond the city walls of medieval Europe to today's political boundaries nestled beside nature's undeveloped frontier. But at what cost? Like the ruins of Pompeii, Brown's hauntingly beautiful photographs reveal how well (or not) we have created a modern American Eden: Las Vegas. (See the publishers website for a slide show and further information about the book: http://gftbooks.com/books_BrownLaurie.html ).

The Great Plains is one of Earth's greatest ecosystems. Comprised of short- and tall-grass prairie, it extends from the Canadian Arctic south to Texas and from the Rocky Mountains in the dry west to the north-south corridor of I-35, I-29, and Canadian Highway 6 in the humid east. Although some of North America's great cities are located on the Great Plains - Canada's Winnipeg, Saskatoon, and Edmonton, for example, and Denver and Dallas in the United States - the region is best known for its isolated small towns, villages, and hamlets whose livelihood, historically, is based on converting the native prairie into ranch land and agriculture. Working in the tradition of documentary photography and using contemporary photographic techniques, Danny Singer here records, as no other Canadian or American photographer previously has, the Main Streets of those tiny settlements that define the Great Plains. In grand panoramas, we sense what it is like to live in these prairie towns that offer their residents the essential services for living - a bank, food store, co-op, gas station, and garage, post office, school, church, watering hole, public park, you name it. But when we look down the side streets of a Danny Singer photograph, we see what lies beyond: the infinite space and big sky that not only establish the character of the Great Plains landscape, but also overwhelm all but the hardiest of citizens. Danny Singer's Main Street offers an original and lasting view of the heart and soul of the North American Great Plains: its small towns, villages, and hamlets at the turn of the twenty-first century. Here we rediscover that, far from the maddening noise and traffic, hectic life and polluted air of the city, rural life in the hinterland still matters. A concluding essay by the renowned art critic and curator, Grant Arnold, establishes Danny Singer's place among the continent's great visual artists of all time. This beautiful book comes slip cased and shrink wrapped. (See the publisher's website for further information: http://gftbooks.com/books_Singer.html ).

Known as "Broadway's social conscience," E. Y. Harburg (1896-1981) wrote the lyrics to the standards, "Brother, Can You Spare a Dime? ," "April in Paris," and "It's Only a Paper Moon," as well as all of the songs in The Wizard of Oz, including "Over the Rainbow." Harburg always included a strong social and political component to his work, fighting racism, poverty, and war. Interweaving close to fifty interviews (most of them previously unpublished), over forty lyrics, and a number of Harburg's poems, Harriet Hyman Alonso enables Harburg to talk about his life and work. He tells of his early childhood on the Lower East Side of Manhattan, his public school education, how the Great Depression opened the way to writing lyrics, and his work on Broadway and Hollywood, including his blacklisting during the McCarthy era. Finally, but most importantly, Harburg shares his commitment to human rights and the ways it affected his writing and his career path. Includes an appendix with Harburg's key musicals, songs, and films.

With a score of very detailed demonstrations, Patrice Baffou covers all the techniques that can be used with acrylics. The step are presented in order of increasing difficulty and address the choice of materials, the basic concepts as well as the wide range of painting subjects for beginners. With the right direction the reader can tackle landscapes, flowers and portraits and with that experience go on their own way, creating their own personal artistic approach. THIS BOOK IS IN FRENCH.

Leonardo's fame is bound up in great works whose background is obscure. There is the Mona Lisa, for which we do not know the exact year of commencement, The Last Supper, whose state of conservation has always given rise to particular concern, and the Battle of Anghiari, whose renown goes well beyond the actual existence of the work, for which researchers are still hunting today. It is this ongoing research that motivated the publication of our volume, which aims to record the known facts about the Battle of Anghiari. The vanished work is so famous as to be known to academics and the general public alike, despite - still - being considered as lost. Here we have a case of fame without equal and which appears even more evident if we consider that Leonardo's painting remained visible for just over fifty years, while his preparatory sketch was available to artists for almost two centuries. The destiny of the Battle of Anghiari was already clear to Paolo Giovio writing in the 1530s: "our sorrow for the unforeseen damage seems only to have wondrously increased the fascination of the unfinished work". Based on descriptions and eyewitness accounts, this study will present a variety of documents, such as literary sources that describe the painting and figurative evidence, such as Leonardo's own preparatory drawings or copies by later artists. Nor should we fail to consider manuscript sources relating to the commissioning and execution of the first part of the work, often traceable through payments registered in archive sources. Equally essential is an overview of the historical context in which the Battle of Anghiari was painted and of the significance of this event. English Language Edition.

On June 6, 1912, among the Katmai volcanoes and its resident native people, an unforgettable natural event occurred: the largest volcanic eruption on Earth during the twentieth century. In size comparable to Indonesia's Krakatau in 1883 and Tambora in 1815, one must go back 2,000 years to the north island of New Zealand to find as large a release of rhyolite magma. The actual eruption took place about 100 miles west of Kodiak in the Aleutian Range on the Alaskan Peninsula. In three days, a new volcano—Novarupta—was born. More than five cubic miles of ash and debris flew into the atmosphere, with heavier deposits filling an adjacent forty-four-square-mile valley in depths up to 1,000 feet. The dense, superheated waves of magmatic spray incinerated all living organisms, leaving a hot bed of igneous material that, when mixed with water from the surrounding glaciers and snowfields, produced tens of thousands of steam vents known as fumaroles. Thus was born the Valley of 10,000 Smokes. Native villages, some thousands of years old, were abandoned and never reestablished. The eruption was of such consequence that the National Geographic Society sent Robert F. Griggs to direct a four-year expedition to the site. Griggs and his party recorded their scientific expedition in stunning black-and-white photographs and moving text, which led to the publication of a 50-page article in National Geographic Magazine in 1918 and a subsequent book issued by the Society in 1922 that remains available today. Gary Freeburg has traveled to the Valley of 10,000 Smokes five times, from 2000 to 2011, in pursuit of rephotography of the contemporary landscape and the larger experience of wilderness. Although the fumaroles that Griggs so vividly portrays in words and pictures are largely gone, and that element of visual and volcanic activity has largely ceased, in Freeburg's photographs one can still feel the steam-filled air, sense the deafening noise of the eruption, and grasp the incredible physical forces that created this alluring landscape. Now preserved as part of the 4.7-million-acre Katmai National Park and Preserve, the Valley of 10,000 Smokes continues to inspire—not just esteemed volcanologists such as John Eichelberger and expert cultural anthropologists such as Jeanne Schaaf, but great artists such as Gary Freeburg who seek out the Alaskan sublime, as it is revealed in one of Earth's most remote, raw, and wild places. (See the publisher's website for further information on exhibits, book signings, and to view a slide show: http://gftbooks.com/books_Freeburg.html ).

Families come in all sizes, shapes, and traditions, each a unique variation of a universal human theme. Whether one comes from a heterosexual, single-sex, or one-parent home, stability and love are paramount. Unfortunately, in the United States, the absence of fathers from their children’s lives has become a real problem. In fact, the Brookings Institute has identified absentee fathers as America's most pressing problem—greater than the economy, education, the environment, health care, infrastructure, you name it. Why? Because nearly every social ill finds an umbrella, a home if you will, in the fatherless home. Choosing Fatherhood: America's Second Chance is meant to explore this issue as no previous book has. And it does so through the art of photography, in which Lewis Kostiner makes portraits of dads who are involved in their children's lives. The book is also accompanied by essays written by leading authorities on the subject: Juan Williams of FOX News, David Travis who was Curator of Photography at the Art Institute of Chicago for more than thirty-five years, sociologist Shipra Parikh at Loyola University in Chicago, sociologist Derrick M. Bryan at the Morehouse College, and Roland Warren, former director of the National Fatherhood Initiative, a nonprofit organization dedicated to enhancing fatherhood in America, who also served on President Obama's task force on fatherless homes. Getting fathers to be more involved in their children’s lives is of paramount importance, if the United States is to regain ground as an international leader. Right now, the statistics look grim: forty years ago only eleven percent of America's children lived in homes without fathers, but today more than a third do. This translates into high poverty rates, high drop-out rates in high school, high rates of incarceration, multiple behavioral problems, and the list goes on. As President Obama has declared, fatherhood does not begin with the ecstasy of conception but with the beauty of childbirth and the responsibilities that come with creating and caring for a human life. Although changes in custody rulings and other policy remedies are possible, behavioral patterns are often outside the reach of policy. Choosing Fatherhood offers a hopeful direction that America does have a second chance at correcting a troubling trend, but time is slipping, and awareness of the problem is an important start. (See the publishers website for further information about events and a slide show from the book: http://gftbooks.com/books_Kostiner.html ) Go here to see an interview with the photographer Lewis Kostiner and Juan Williams who wrote the introduction: http://video.foxnews.com/v/2197946608001/