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"This sorry episode has been illuminated in books and documentaries. But I've never felt its emotional texture--the unexpected mix of dereliction and upstanding hopefulness--so vividly as in this set of photographs taken by Ansel Adams and Dorothea Lange and five others, among them an artist incarcerated at Manzanar." -Pico IyerIn the weeks following the bombing of Pearl Harbor on December 7, 1941, American suspicion and distrust of its Japanese American population became widespread. The US government soon ordered all Japanese Americans (two thirds of them American citizens) living on the West Coast to report to assembly centers for eventual transfer to internment camps, openly referred to by the New York Times as "concentration camps." Within a few months of Pearl Harbor, President Franklin D. Roosevelt signed Executive Order 9066; soon after, the War Relocation Authority (WRA) was established and by the end of March, the first of 10,000 Japanese evacuees arrived in Manzanar, an internment camp in the Owens Valley desert at the foot of the Sierras. Families were given one to two weeks' notice and were allowed to pack only what they could carry. Businesses were shuttered and farms and equipment were sold at bargain prices. Upon arrival at Manzanar, each person was assigned to a barrack, given a cot, blankets and a canvas bag to be filled with straw in order to create their own mattresses.Dorothea Lange was hired by the WRA to photograph the mass evacuation; she worked into the first months of the internment until she was fired by WRA staff for her "sympathetic" approach. Many of her photographs were seized by the government and largely unseen by the public for a half century. More than a year later, Manzanar Project Director Ralph Merritt hired Ansel Adams to document life at the camp. Lange and Adams were also joined by WRA photographers Russell Lee, Clem Albers and Francis Stewart. Two Japanese internees, Toyo Miyatake and Jack Iwata, secretly photographed life within the camp with a smuggled camera.Gathered together in this volume, these images express the dignity and determination of the Japanese Americans in the face of injustice and humiliation. Today the tragic circumstances surrounding displaced and detained people around the world only strengthen the impact of these photos taken 75 years ago.

Catalog of an exhibition held at Ballroom Marfa, February 28-October 26, 2014; Irish Museum of Modern Art, Dublin, December 5, 2014-May 4, 2015; Blaffer Art Museum, University of Houston, May 31-September 5, 2015.

"Modesty and discretion characterize everything Christenberry touches." -Richard B. Woodward, The New York TimesWilliam Christenberry is firmly established as a contemporary American master photographer, but no comprehensive overview of his diverse talents is currently in print. This 260-page volume--the largest Christenberry overview yet published--corrects this lacuna, offering a thematic survey of his half-century-long career. It is composed of 13 sections, each devoted to a particular series or theme: the wooden sculptures of Southern houses, cafes and shops; the early, black-and-white, Walker Evans-influenced photographs of Southern interiors, taken in Alabama and Mississippi in the early 60s; documentations of Ku Klux Klan meeting houses and rallies, from the mid-1960s; color photographs of tenant houses in Alabama, from 1961 to 1978; signs in landscapes, ranging from handwritten gas station signs to Klan and corporate signs; graves (which, through Christenberry's lens, emerge as a kind of folk art); churches in Alabama, Delaware and Mississippi, taken between the mid-1960s and the 80s; Alabama street scenes, in towns such as Demopolis, Marion and Greensboro; street scenes in Tennessee (mostly Memphis); Southern landscapes; gas stations, trucks and cars in Alabama; and a selection from Christenberry's famous series of buildings to which he returns annually, photographing them over several decades-the palmist building, the Underground Nite Club, Coleman's Cafe, the Bar-B-Q Inn, the Green Warehouse and the Christenberry family home, near Stewart, Alabama. William Christenberry (born 1936) has been a professor at the Corcoran College of Art and Design, Washington, D.C., since 1968. His work has been the subject of numerous solo exhibitions over the last 40 years, and can be found in numerous permanent collections, including those of the Smithsonian American Art Museum, Washington, D.C.; The Museum of Modern Art and Whitney Museum of American Art, New York; San Francisco Museum of Modern Art; and the Center for Creative Photography, Tucson. His work was the subject of a major year-long solo exhibition at the Smithsonian American Art Museum in 2006.

This publication offers a new perspective on the work of Brad Cloepfil and Allied Works Architecture, recognized for designing buildings of enduring quality and cultural significance over the past 20 years. Published to accompany an exhibition opening at the Denver Art Museum in January 2016, the book offers an inside view into Allied Works' unique approach to design, a process driven by a rich material and physical investigation. For Cloepfil and Allied Works, each project begins with the creation of hand drawings and concept models. These highly evocative artifacts--forged of diverse matter such as reclaimed timbers, porcelain, resin, glass, lead and steel--distill the essence of each project, and explore the dialogue among material, technique and intention that lies at the heart of architectural practice.The book also documents Cloepfil's design for the installation: a series of custom-built cases, which open up to reveal a collection of artifacts inside, including models, drawings, photographs, pieces of materials and other objects that have provided conceptual inspiration. New essays by Brad Cloepfil and curator Dean Sobel place the work in context, and explore how this singular collection of artifacts reveals the process of creation in architecture--the act of translating ideas into built form.

Encompassing 60 sculptures and 20 drawings from throughout Butterly's career, all of which are reproduced here, this edition focuses mainly on the last 10 years of her work. Butterly is well known for her sculptures that challenge the conventions of ceramic tradition through oblique figurations of the body, with shapes that evoke mouths, feet, and genitalia.

In 1962, while living in Paris, Dutch painter, sculptor and editor of The Situationist Times Jacqueline de Jong (born 1939) completed a set of 11 woodcut engravings, a medium in which she rarely worked. Danish painter and writer Asger Jorn (1914-1973) adored the engravings and decided to publish them. First, however, Jorn decided to compose a set of texts to accompany the art work, turning the suite of engravings into an "erotic novel" which they called "The Case of the Ascetic Satyr." Over the course of the next decade they jotted down playful (and occasionally sexually explicit) notes to each other on anything that came to hand--exhibition flyers, cocktail napkins, even an unused sheet from Memoires, Jorn's famous collaborative artist's book with Guy Debord. The texts are mostly in English, the language Jorn and de Jong usually used together, though some are in French, Danish, Dutch or German. Wordplay is prevalent, sometimes referring to James Joyce's Finnegans Wake. In the end, the book project outlasted the relationship between the two artists, and so was never published. This beautifully produced artist's book--published in a signed and numbered edition of 200 copies--is thus not so much a facsimile as a true first edition, with the prints accompanied by replicas of the notes between the two lovers. A companion volume includes essays on the piece by leading art historians in the field, Kevin Repp, Marc Lenot, Roberto Ohrt, Karen Kurczynski and Axel Heil.

Snapshots from the moon: NASA photographs from the earliest manned space flightsNASA's Apollo program landed the first humans on the moon in 1969. In the next three years, Apollo sent 10 more men to the moon in five subsequent missions. The first moon landing in particular is a legendarily well-documented event, representing one of those rare moments in which the world was united in awe, witnessing the feat together on their television screens. But each Apollo mission also generated hundreds of photographs, many of which have only recently been released by NASA. A selection of these images--shot by the astronauts themselves with suit-mounted and handheld Hasselblad cameras--are gathered in this beautifully designed, affordable volume.Many of the photographs, though shot originally for scientific, documentary purposes, have an extraordinary snapshot quality, boasting inadvertently artful compositions and effects: in one, a pair of astronaut's legs emerges upside down from the bottom of the frame; in another, a striding astronaut appears to glow against the black recesses of space.Contextualized with background information about the Apollo Missions and the role of photographic documentation in them, the photographs in The Moon 1968-1972 are fascinating documents of the majesty of outer space, but also record the surface of the moon as a landscape of wonder. This is the moon of which E.B. White wrote in the July 1969 issue of The New Yorker: "The moon, it turns out, is a great place for men. One-sixth gravity must be a lot of fun, and when Armstrong and Aldrin went into their bouncy little dance, like two happy children, it was a moment not only of triumph but of gaity."

The story told by the photographs in California Surfing and Climbing in the Fifties takes place against the larger backdrop of postwar America: Truman and Eisenhower, the Korean War, the Cold War and the Red Scare. Young people were embracing new symbols of non-conformity: Elvis Presley, Jack Kerouac, Marlon Brando and James Dean. All along the California coast, surfing became popular as heavy balsawood boards were replaced with lightweight ones crafted from polyurethane foam, fiberglass and resin. Meanwhile, climbers descended on Tahquitz Rock in the south and Yosemite Valley to the north to test handcrafted equipment that would set new standards for safety, technique and performance. The photographs in this volume include images of legendary surfers such as Joe Quigg, Tom Zahn, Dale Velzy and Renny Yater, in locations such as Rincon, Malibu, South Bay, Laguna and San Onofre; and famous climbers such as Warren Harding, Royal Robbins and Wayne Merry among others, photographed mostly in the Yosemite Valley by the likes of Bob Swift, Alan Steck, Jerry Gallwas and Frank Hoover. Soaked in surf, sun and adrenaline, the photographs in California Surfing and Climbing in the Fifties depict the birth of an era and an exhilarating moment in Californian history.

In this sequel to GingerNutz: The Jungle Memoir of a Model Orangutan, we see the ginger-haired beauty cavorting about the famous landmarks of Paris and visiting the ateliers of storied fashion designers. She's back! After becoming a breakout star in the fashion world, GingerNutz, the first Bornean-born orangutan supermodel, has landed in Paris for a whirlwind week of fittings, photo shoots and parties. Though born in humble jungle surroundings, the precocious primate quickly adjusts to life at the upper echelons of the fashion world: bookings at all the maisons de haute couture, front-row seats to the latest theater shows and hotel suites at the Ritz. In this sequel to GingerNutz: The Jungle Memoir of a Model Orangutan, we see the ginger-haired beauty cavorting about the famous landmarks of Paris - Notre Dame Cathedral, Café de Flore - and visiting the ateliers of storied fashion designers including Azzedine Alaïa, Jean-Paul Gaultier, Thierry Mugler, Comme des Garçons and Dries van Noten. Being the hottest model of the moment, GingerNutz will also model the latest haute couture styles, chosen at the Fall 2018 shows in Paris by Grace Coddington. Michael Roberts' charming text and hand-drawn illustrations capture the wonder and whimsy of a glamorous but still naïve young girl's adventures in Paris. The story of GingerNutz was inspired by legendary model and fashion editor Grace Coddington, the longtime creative director of American Vogue and a close friend of the author.

Andy Warhol's The Chelsea Girls had its premiere at the Film-Maker's Cinematheque on 15 September 1966. It sold out a 200-seat theatre and went on to become the first film to move from the underground to commercial cinema. Since 1972, when Warhol pulled all of his films out of distribution, the public has had extremely limited access to The Chelsea Girls , outside of museum screenings. In honour of the 20th Anniversary of The Andy Warhol Museum and what would have been Warhol's 85th birthday, hundreds of Warhol's films - some never seen before - have been converted to a digital format with the partnership of The Andy Warhol Museum, The Museum of Modern Art, New York, and the Moving Picture Company (MPC), a Technicolor Company. This book is an in-depth look at Warhol's most famous film. It includes all newly digitized film stills, never-before-published transcripts, unpublished archival materials, and expanded information about each of the individual films that comprise the three- plus hour film. As the film alternates sound between the left and right screens, the book reproduces the transcript in complete form as one hears it, with imagery from the corresponding reels. There is also a full transcription of the unheard reels in the back of the book. This is a substantial contribution to the scholarship on Warhol's complex and most commercial film.

"When Renâe Magritte reached his 40s, something unexpected happened. The painter, who had honed an iconic Surrealist style between 1926 and 1938, suddenly started making paintings that looked almost nothing like his earlier work. First he adopted an Impressionist aesthetic, borrowing the sweet, hazy palette of Pierre-Auguste Renoir-which he described as "sunlit Surrealism." Then his style shifted again, incorporating popular imagery, the brash colors of Fauvism and the gestural brushwork of Expressionism. And then Magritte returned to his classic style as if nothing had happened. Renâe Magritte: The Fifth Season looks at the art Magritte made during and after the stylistic crises of the 1940s, revealing his shifting attitudes toward painting. Subjects explored in this volume include the artist's Renoir period; the pâeriode vache, with its Fauvist- and Expressionist-style paintings that are little known to American audiences; the "hypertrophy of objects" paintings, a series that plays with the scale of familiar objects; and the enigmatic Dominion of Light suite, paintings that suggest the simultaneous experience of day and night. Featuring full-color plates of approximately 50 oil paintings, and a dozen of the artist's gouaches, Renâe Magritte: The Fifth Season offers a new understanding of Magritte's special position in the history of 20th-century art. In a career of almost half a century, Belgian Surrealist Renâe Magritte (1898-1967) probed the distance between object, language and image. Even as he playfully explored new styles, his painting practice remained consistent in its cautionary message not to equate the observable world with reality in all its fullness." -- Publisher's description.

Michael Roberts is a British fashion journalist. He is currently the fashion and style director of Vanity Fair magazine, and has worked as fashion director for The New Yorker, fashion editor of The Sunday Times, style director and art director of Tatler, design director of British Vogue, Paris editor of Vanity Fair, and editor of Boulevard Magazine. Grace Coddington is the creative director of American Vogue.

Skidmore Owings & Merrill (SOM) the firm most closely associated with the contemporary high rise, invites writers from a variety of disciplines, including science fiction, politics, new media and public health, to share ideas on the future of the skyscraper.

Pure tinsel-town photo eye-candy - 132 photographers' collective vision of Los Angeles. Presenting the duality unique to Los Angeles through street photographs, portraits, architecture, landscapes. From crazy topiary to deported youths, from hillsides ablaze in flames to sublime beaches, from a run-down foreclosed home to the Chateau Marmont, from celebrity sightings to homeless shelters.

Carolee Thea's new volume of interviews with fourteen of today's leading curators explores the lively system of art biennials that is thriving around the world - particularly outside Europe and America.

Published on the occasion of the exhibition held at Museum of Art, Santa Monica, Calif., Sept. 17-Nov. 26, 2005; Nora Eccles Harrison Museum of Art, Logan, Utah, Jan. 10-March 15, 2006; Ulrich Museum of Art, Wichita, Kansas, April 21-July 9, 2006; Berkeley Art Museum and Pacific Film Archive, Berkeley, Calif., Oct. 17-Dec. 10, 2006; and Grey Art Gallery, New York, Jan. 16- March 31, 2007.

Christo (born 1935) and Jeanne-Claude (1935-2009) have created some of the most visually breathtaking works of the twentieth and twenty-first centuries. Their projects have traversed and transcended the boundaries of painting, sculpture and architecture. This lavishly designed, epic volume brings together a wealth of archival material and photographic documentation to offer an intimate behind-the-scenes view of the monumental installations with which the couple have dazzled the public. Photographs portraying the artists at work are supplemented by pictures of all their major projects--Wrapped Coast (1968-69), Valley Curtain (1970-72), Running Fence (1972-76), Surrounded Islands (1980-83), The Pont Neuf Wrapped (1975-85), The Umbrellas (1984-91), Wrapped Reichstag (1971-95) and The Gates (1979-2005)--as well as reproductions of drawings, collages and objects. Matthias Koddenberg, art historian and close friend of the artists, spent many years compiling the more than 250 mostly unpublished photographs and illustrations assembled here. Many of them show works that were previously unknown or thought lost, including early drawings and paintings dating back to when Christo was still studying art in Bulgaria. Others document temporary sculptures--Wrapped Woman (1962, 1963 and 1968), Wrapped Volkswagen (1963) and Wrapped Tree (1966 and 1969)--or works that were intentionally destroyed and only survive as photographs. The publication was put together in close collaboration with Christo and includes documentation by renowned photographers such as Ugo Mulas, Enzo Sellerio, Harry Shunk and János Kender, Charles Wilp and Wolfgang Volz, who has documented all of the artists' projects since 1971, together with photos by associates and friends as well as pictures from the artists' private archives.

Szenasy has served as the Editor-in-Chief of Metropolis for over 25 years. Celebrated as a magazine of editorial distinction, Metropolis is recognized for its cultural impact on the architectural and design professions.

This volume offers a fascinating inside look at the controversial Skin Fruit exhibition, curated by Jeff Koons from the Dakis Joannou Collection in 2010. The photographs in this book, composed by Koons himself as he installed the show capture a sequence of startling encounters: disparate artworks in eloquent communication with one another, just as they live in the collection. Guiding the reader through the exhibition room by room, alongside a pensive and candid commentary by Koons, Skin Fruit: A View of a Collection offers a rare opportunity to delve inside the artist's private thoughts on collecting, curating and the nature of art. "I enjoyed installing the exhibition, letting the works have the opportunity to interact with each other because that's what happens in a collection," says Koons. "It's a salon-type experience. There is no hierarchy of worth or value. There is just interaction and communication."

In A Country of Cities, Vishaan Chakrabarti argues that well-designed cities are the key to solving the United States' great national challenges: environmental degradation, unsustainable consumption, economic stagnation, rising public health costs and decreased social mobility. If we develop them wisely in the future, our cities can be the force leading us into a new era of progressive and prosperous stewardship of our nation. In compelling chapters, Chakrabarti brings us a wealth of information about cities, suburbs and exurbs, looking at how they developed across the 50 states and their roles in prosperity and globalization, sustainability and resilience, and heath and joy. Counter to what you might think, American cities today are growing faster than their suburban counterparts for the first time since the 1920s. If we can intelligently increase the density of our cities as they grow and build the transit systems, schools, parks and other infrastructure to support them, Chakrabarti shows us how both job opportunities and an improved, sustainable environment are truly within our means. In this call for an urban America, he illustrates his argument with numerous infographics illustrating provocative statistics on issues as disparate as rising childhood obesity rates, ever-lengthening automobile commutes and government subsidies that favor highways over mass transit. The book closes with an eloquent manifesto that rallies us to build 'a Country of Cities', to turn a country of highways, houses and hedges into a country of trains, towers and trees.

"Editors: Carolee Thea and Thomas Micchelli."

The essential critical reference tool on Andy Warhol's prints.