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In celebration of the world’s favorite animal, we bring you over 400 photographs of or about dogs. With pictures from the 19th century to today, the collection includes works by Man Ray, Eric Fischl, Wolfgang Tillmans, Donna Ruskin, Fatima NeJame, Vincent Versace, and of course Elliott Erwitt and William Wegman. Together, their pictures, unique in style but united in canine affection, are testimony if ever there was one that dogs are not only best friends, but also pure photographic inspiration. Forget #dogsofinstagram, this is real canine art, showing how the camera has been key witness to dogs in all their diversity, character, and friendship, from pensive pooch portraits to four-pawed action shots. As intellectually as it is visually stimulating, the book includes captivating essays tracing the presence of dogs in the history of photography and their relationship with humans across the decades.

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A Visual History of Graphic Design - A comprehensive look at hundreds of landmark projects, industry leaders profiles, and illustrated timelines for each decade. History is a complex business. Fortunes boom and bust, empires wax and wane, and change—whether social, political, or technological—has its winners, its losers, its advocates, and its enemies. Through all the turbulent passage of time, graphic design—with its vivid, neat synthesis of image and idea—has distilled the spirit of each age. This book offers a comprehensive history of graphic design from the end of the 19th century to the remains of World War II. It traces the evolution of this creative field from its beginning as poster design to its further development into advertising, corporate identity, packaging, and editorial design. Organized chronologically, the volume features over 2,500 seminal designs from all over the world, 71 of which are profiled in detail besides 61 leaders in the field, including Alphonse Mucha (chocolate advertisements), Edward Johnston (London Underground logo and typeface), El Lissitzky (constructivist graphics), Herbert Matter (photomontage travel posters from Switzerland), Saul Bass (animated opening titles), and A. M. Cassandre (art deco posters). With his sweeping knowledge of the field, author Jens Müller curates the standout designs for each year alongside a running sequence of design milestones. Meanwhile, in his introductory essay, David Jury situates graphic design from its point of origin in early printing, engraving, and lithography to striking creative developments in the 19th century. Each consecutive decade is then prefaced by a succinct overview as well as a stunning visual timeline, offering a vivid display of the variety of graphic production in each decade as well as the global landscape which it at once described and defined. As we move on from and reflect upon the 20th century, this staggering collection represents the foundations of what would influence some of the fastest changing creative fields, and a long-overdue recognition of the enormous contribution graphic design has made to economics, politics, social causes, arts, media, and the way we see the world. A second volume in preparation will cover the period from 1960 to today.

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It was the decade of daring Expressionist canvases, of brilliant book design, of the Bauhaus total work of art, of pioneering psychology, of drag balls, cabaret, Metropolis, and Marlene Dietrich’s rising star in theater and silent film. Between the paroxysms of two world wars, Berlin in the 1920s was a carpe diem cultural heyday, replete with groundbreaking art, invention, and thought. This book immerses readers in the freewheeling spirit of Berlin’s Weimar age. Through exemplary works in painting, sculpture, architecture, graphic design, photography, and film, we uncover the innovations, ideas, and precious dreams that characterized this unique cultural window. We take in the jazz bars and dance halls; the crowded kinos and flapper fashion; the advances in technology and transport; the radio towers and rumbling trams and trains; the soaring buildings; the cinematic masterworks; and the newly independent women who smoked cigarettes, wore their hair short, and earned their own money. Featured works in this vivid cultural portrait include Hannah Höch's The Journalists; Lotte Jacobi’s Hands on Typewriter; Otto Dix's Portrait of the Journalist Sylvia von Harden; Peter Behrens's project of theAlexanderplatz; and Josef von Sternberg’s The Blue Angel, starring Dietrich as cabaret performer Lola Lola. Along the way, we explore both the utopian yearnings and the more ominous economic and political realities which fueled the era's escapist, idealistic, or reactionary masterworks. Behind the bright lights and glitter dresses, we see the inflation, factory labor, and fragile political consensus that lurked beneath this golden era and would eventually spell its savage end with the rise of National Socialism.

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Modernist Cuisine is an interdisciplinary team in Bellevue, Washington, founded and led by Nathan Myhrvold. The group includes scientists, research and development chefs, and a full editorial team all dedicated to advancing the state of culinary art through the creative application of scientific knowledge and experimental techniques. Change the way

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“The Stanley Kubrick Archives showed up one morning in our offices, where my editor and I circled it like curious apes.” —Time Out, New York This is the first book to explore Stanley Kubrick’s archives and the most comprehensive study of the filmmaker to date. In 1968, when Stanley Kubrick was asked to comment on the metaphysical significance of 2001: A Space Odyssey, he replied: “It’s not a message I ever intended to convey in words. 2001 is a nonverbal experience…. I tried to create a visual experience, one that bypasses verbalized pigeonholing and directly penetrates the subconscious with an emotional and philosophic content.” The philosophy behind Part 1 of The Stanley Kubrick Archives borrows from this line of thinking: from the opening sequence of Killer’s Kiss to the final frames of Eyes Wide Shut, Kubrick’s complete films are presented chronologically and wordlessly via frame enlargements. A completely nonverbal experience. The second part of the book brings to life the creative process of Kubrick’s filmmaking by presenting a remarkable collection of mostly unseen material from his archives, including photographs, props, posters, artwork, set designs, sketches, correspondence, documents, screenplays, drafts, notes, and shooting schedules. Accompanying the visual material are essays by noted Kubrick scholars, articles written by and about Kubrick, and a selection of Kubrick’s best interviews.

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On October 30, 1974, in Kinshasa, Zaire, at the virtual center of Africa, two boxers were paid five million dollars apiece to confront each other in an epic match. One was Muhammad Ali, who vowed to reclaim the championship he had lost. The other was George Foreman, who was as taciturn as Ali was voluble and who kept his hands in his pockets “the way a hunter lays his rifle back into its velvet case.” Observing them both was Norman Mailer, whose grasp of the titanic battle’s feints and stratagems—and sensitivity to their deeper symbolism—made his 1975 book The Fight a masterpiece of sportswriting. Whether analyzing the fighters’ moves, interpreting their characters, or weighing their competing claims on the African and American souls, Mailer was a commentator of unparalleled acumen—and surely one of the few intrepid enough to accompany Ali on a late-night run through the bush. Through The Fight he restores our tarnished notions of heroism to a blinding gleam, and establishes himself as a champion in his own right. Over four decades after its original publication, this edition of The Fight has been introduced and abridged by Mailer scholar J. Michael Lennon and illustrated for the first time with principal photography by the two men who captured Ali and Foreman in the ring and in private like no one else: Neil Leifer and Howard L. Bingham. Widely considered to be the greatest sports photographer of his generation, Neil Leifer’s vibrant color coverage dominates from ringside. It also serves as a living testimony to the pageantry, sheer physical power, and deep psychological interplay of the fighters, their camps, and their controversial host, Zaire’s President Mobutu Sese Seko. Behind the scenes, meanwhile, Howard Bingham was Ali’s constant companion, documenting his every move from the moment he stepped off the plane in Zaire, his daily training regime, right through to the dressing room tension as he prepared to face Foreman once and for all. Together with pictures from other photojournalists, reproductions of Mailer’s original manuscript pages, and additional visual documentation of the media frenzy surrounding the “Rumble in the Jungle,” the result is a dazzling tribute to The Champ and a vivid document of one of the most epic, adrenaline-laced events in sporting history.

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When the excavations at Pompeii were first placed on a scholarly archaeological footing in the 19th century, brothers Fausto and Felice Niccolini were close at hand and ready to respond. Making use of the newly introduced technique of color lithography, they documented the buildings, frescos, statues, as well as the most ordinary everyday objects, of the city buried in just 24 hours by the catastrophic eruption of Vesuvius and preserved for over 1,600 years under a mantle of volcanic ash. The Niccolinis’ goal was to illustrate all aspects of life in the antique city. Their publication, Le case ed i monumenti di Pompei (“The Houses and Monuments of Pompeii”), which was issued in installments between 1854 and 1896 in Naples, presented over 400 color plates providing not only views, maps, and groundplans of the city and its public buildings, but also offered unprecedented access to Pompeii’s private residences. They revealed the astonishing painted wall decorations that adorned these long-buried abodes, their intricate works of art, and the practical utensils of everyday use, conjuring up a vivid picture of each house as a real domestic space. In total, the plates illustrated more than 1,000 items, each extensively specified and located for the first time, making the publication a major reference in Pompeii research. In addition, “animated” representations visualized daily life in Pompeii’s workshops, taverns, and shops, on its public squares, and in its temples, theaters, and baths. This meticulous facsimile revives the Niccolinis’ extraordinary achievement with all color plates and two introductory essays setting the project in its contemporary context and presenting the historical protagonists of the Vesuvian excavations. In addition, we explore the remarkable influence exerted by Pompeian art—and by the haunting plaster casts made of victims of the eruption—on the visual arts. Across painting, sculpture, and interior design, we trace the Pompeii legacy in the work of Robert Adam, Anton Raphael Mengs, Angelika Kaufmann, Jean-Auguste-Dominique Ingres, Lawrence Alma-Tadema, Pablo Picasso, and Giorgio de Chirico, right through to recent masters Duane Hanson and George Segal.

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Peter Lindbergh photographed Dior's most exceptional muses, Marion Cotillard and Charlize Theron among them, and signed campaigns for Lady Dior and J''Adore with his inimitable style. Throughout his career, the photographer was one of the house's closest collaborators. This final book was an original cocreation that was close to the artist's heartand to ours.Seventy years of Dior history projected against the effervescence of Times Square, New York: this was the concept behind Lindbergh's project, extraordinary both in scope and dimension, for which Dior, in an unusual move, allowed an unprecedented number of priceless garments to be taken from its vaults in Paris and shipped across the Atlantic.The result is electric. Amid the frenzy of Times Square, Alek Wek glows in the immaculate 1947 Bar suit, the storied ensemble that launched the House of Dior. In snatches of street scenes, models Saskia de Brauw, Karen Elson, and Amber Valletta flit through crowds and

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It's been thirty years since Laurence Anholt began his beloved series about great artists and the real children who knew them. Since then, these classic tales of Vincent van Gogh, Frida Kahlo, Pablo Picasso, Leonardo da Vinci, and many other geniuses of Western art have provided a springboard into a lifetime's love of art, selling millions of copies around the world. The stories have been adapted in many forms including ballet, opera, Braille editions for blind and partially sighted children, and a full-scale stage musical in Korea. Alongside Anholt's dazzling watercolor illustrations, this anniversary edition includes dozens of high-quality reproductions of the artists' work, child-friendly biographies of the artists, and interactive questions for young readers. Each story is closely based on historical events and extensive research. In many cases, Anholt visited the artists' homes and studios, walking in their footsteps and interviewing their relatives. He was granted

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The deceptively simple lemon takes center stage in the second volume of TASCHEN’s collaboration with The Gourmand, masters of the rich intersection of food and art. The star of Renaissance gardens, that shaped the Medici dynasty, have the power to ward off scurvy, had a hand in forming the mob, and whose juice has been used as an invisible ink since 600 CE to pen covert messages, these joyful yellow orbs are ripe with intrigue. The Gourmand charts the fruit’s astonishingly intricate genealogy, explores its role as a literary device for the likes of Joan Didion, F. Scott Fitzgerald, Tom Wolfe, and James Joyce, and examines its unique representation of the American dream through lemonade stands. A favorite subject of art history’s giants, the lemon captivates in the still lifes of Old Masters and inspired the breakthroughs of modern visionaries like Picasso, Matisse, and Warhol. Lemons also find themselves at the cutting edge of design in Philippe Starck’s iconic Juicy Salif and the unassuming yet revolutionary Jif Lemon. Their presence extends to the decorative arts, gracing everything from Arts and Crafts wallpapers to mythological ceramics. Even the famed Bloomsbury Group found lemons entangled in their literary love affairs. Accompanying these citrus-centric anecdotes are a foreword by chef and acclaimed food writer Simon Hopkinson and an introduction by art critic and author Jennifer Higgie alongside more than 60 lemon-infused recipes across global cuisines and for every occasion—including perfect poultry, decadent sauces, classic cocktails, and indulgent desserts, with custom photography by Bobby Doherty.

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Photographer, teacher, and sociologist Lewis W. Hine (1874–1940) shaped our consciousness of American working life in the early 20th century like no other. Combining his training as an educator with his humanist concerns, Hine was one of the earliest photographers to use the camera as a documentary tool, capturing in particular labor conditions, housing, and immigrants arriving on Ellis Island. His images, including those of children in cotton mills, factories, coal mines, and fields, became icons of photographic history that helped to transform labor laws in the United States. This book brings together a representative collection of Lewis W. Hine’s photography from all periods of his work. It spans his earliest forays into social-documentary work through to his more artistic and interpretative late photographs, including his phenomenal images of the construction of the Empire State Building and his symbiotic staging of human and machine as a comment on increasing industrialization. Alongside the near 350 photographs, the book includes an essay by the editor, introducing Hine’s life and pioneering work.

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At a time when surfing is more popular than ever, it’s fitting to look back at the years that brought the sport into the mainstream. Developed by Hawaiian Islanders over five centuries ago, surfing began to peak on the mainland in the 1950s—becoming not just a sport, but a way of life, admired and exported across the globe. One of the key image-makers from that period is LeRoy Grannis, a surfer since 1931, who began photographing the longboard era of the early 1960s in both California and Hawaii. This edition brings back Grannis’s hair-raising, sold-out Collector’s Edition, curated from the photographer’s personal archives, to showcase his most vibrant work in a compact and affordable format—from the bliss of catching the perfect wave at San Onofre to dramatic wipeouts at Oahu’s famed North Shore. An innovator in the field, Grannis suction-cupped a waterproof box to his board, enabling him to change film in the water and stay closer to the action than any other photographer of the time. He also covered the emerging surf lifestyle, from “surfer stomps” and hordes of fans at surf contests to board-laden woody station wagons along the Pacific Coast Highway. It is in these iconic images that a sport still in its adolescence embodied the free-spirited nature of an era—a time before shortboards and celebrity endorsements, when surfing was at its bronzed best.

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Star Wars exploded onto our cinema screens in 1977, and the world has not been the same since. After watching depressing and cynical movies throughout the early 1970s, audiences enthusiastically embraced the positive energy of the Star Wars universe as they followed moisture farmer Luke Skywalker on his journey through a galaxy far, far away, meeting extraordinary characters like mysterious hermit Obi-Wan Kenobi, space pirates Han Solo and Chewbacca, loyal droids C-3PO and R2-D2, bold Princess Leia and the horrific Darth Vader, servant of the dark, malevolent Emperor. Writer, director, and producer George Lucas created the modern monomyth of our time, one that resonates with the child in us all. He formed Industrial Light & Magic to develop cutting-edge special effects technology, which he combined with innovative editing techniques and a heightened sense of sound to give audiences a unique sensory cinematic experience. In this first volume, made with the full cooperation of Lucasfilm, Lucas narrates his own story, taking us through the making of the original trilogy—Episode IV: A New Hope, Episode V: The Empire Strikes Back, and Episode VI: Return of the Jedi—and bringing fresh insights into the creation of a unique universe. Complete with script pages, production documents, concept art, storyboards, on-set photography, stills, and posters, the XXL-sized tome is an authoritative exploration of the original saga as told by its creator.

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Andy Warhol (1928–1987) is hailed as the most important proponent of the Pop art movement. A critical and creative observer of American society, he explored key themes of consumerism, materialism, media, and celebrity. Drawing on contemporary advertisements, comic strips, consumer products, and Hollywood’s most famous faces, Warhol proposed a radical reevaluation of what constituted artistic subject matter. Through Warhol, a Campbell’s soup can and Coca Cola bottle became as worthy of artistic status as any traditional still life. At the same time, Warhol reconfigured the role of the artist. Famously stating “I want to be a machine,” he systematically reduced the presence of his own authorship, working with mass-production methods and images, as well as dozens of assistants in a studio he dubbed the Factory. This book introduces Warhol’s multifaceted, prolific oeuvre, which revolutionized distinctions between “high” and “low” art and integrated ideas of living, producing, and consuming that remain central questions of modern experience.

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Remote Experiences is the visual account of the extraordinary journeys of photographer David De Vleeschauwer through the world’s most uncharted territories. In pursuit of the best of travel, he has been passionately exploring the world for more than two decades. Focused on 12 unexpected destinations, it wanders from north to south, with the ease of well-seasoned explorers. Its photographic reportage brings to life an eclectic collection of memories. He ventures to paradise-like, off-the-radar forgotten kingdoms with ancient Buddhist outposts in the foothills of the Himalayas and traces the footsteps of pilgrims and sheepherds in Italy. From the plains of Botswana to the outer realms of Antarctica aboard a superyacht icebreaker, this unique guide outlines its own geography of the world. Along the way, we meet individuals, landscapes and even vessels that become the serendipitous heroes of these wondrous adventures. De Vleeschauwer's shared experiences depict a world where the foreign becomes familiar, the isolated accessible. In our digital, overly consumptive age people want a true sense of place, which might be rugged, refined, or rural. Complete with travel accounts and detailed descriptions of trips that range in price from an affordable 250 euros to an ambitious one million euros, Remote Experiences takes its readers on an unforgettable voyage to those overlooked or sometimes forgotten spaces “where time stands still”, encouraging us to do just that—until we take to the road again…

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The Kama Sutra gives detailed instructions on how to spank it. Contemporary Italians touch it for luck before placing a bet. Americans are having it cosmetically enhanced at rates approaching breast enlargement surgery. The female butt, tush, culo, or derrière has always inspired awe, fantasy, and slavish devotion.Curiously, its primary purpose is functional rather than aesthetic: butts balance our bodies while running, according to biologists. But ask any pygophiliac—as fundament fans are clinically termed—and you’ll get the same answer: female hindquarters exist to please the eye, the hands, and parts south. A pert posterior causes instant arousal, as Zora Neale Hurston observed in Their Eyes Were Watching God: "The men noticed her firm buttocks like she had grape fruits in her hip pockets." Or, as rapper Sir Mix-a-lot proclaimed, "My anaconda don’t want none, unless you’ve got buns, hun."Having all but disappeared from western culture in the breast-obsessed second half of the 20th century, the fully formed fanny is currently enjoying a massive resurgence, attributed by some to American actress Jennifer Lopez, by others to the rise of booty-centric hip hop culture. Yet this rage for shapely butts is nothing new. The ancient Greeks worshipped at the temple of Aphrodite Kallipygos, Goddess of the Beautiful Buttocks, while a womanly rump has always been an object of worship in most of the southern hemisphere.The Big Butt Book explores this perennial fascination with female booty—from small and taut to large and sumptuous—in the fourth installment of Dian Hanson’s critically acclaimed body parts series. Over 400 photos from 1900 to the present day, including works by Elmer Batters, Ellen von Unwerth, Jean-Paul Goude, Ralph Gibson, Richard Kern, Jan Saudek, Ed Fox, Terry Richardson and Sante D’Orazio, of butts ranging from petite Pam Anderson’s to sumptuous Serena Williams’, are contextualized by interviews with porn icon John (Buttman) Stagliano, filmmaker Tinto Brass, artist Robert Crumb, bootylicious butt queens Buffie The Body, Coco and Brazil’s Watermelon Woman, plus Eve Howard and her life-long spanking obsession.

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In Maldicidade, the city never sleeps. By dawn or dusk, in New York, Havana, Salvador da Bahia, or Tokyo, it is an environment fraught with yearning, aching with solitude, and fretful with fortunes never made. This searing urban portrait from visual artist Miguel Rio Branco draws upon his itinerant early years as the son of diplomats to reveal the common threads of struggle and loneliness in metropolises around the world.The images are impeccably captured, but the pictures are not always pretty. Rio Branco is not interested in documenting historic city landmarks, an impressive skyline, or the aspirational dreams that soar up towards it. Instead, he focuses his camera on the city’s refuse and margins—on that which it has thrown away and on those it has cast aside and disappointed. In stark frames or soft impressions, it is street sleepers, beggars, prostitutes, stray dogs, smashed cars, and shattered glass that characterize his urban impressions. While subtle details reveal the specificity of place, it is the commonality of urban experience at the heart of Rio Branco’s project. Light on local context or explanatory narrative, the images are instead meticulously arranged into one redolent sequence of a universal city. Working as if in the cutting studio, Rio Branco excels in the rhythm and succession of pictures, crafting evocative patterns of motif (decrepit buildings, lone figures, smashed-up cars); color (rich reds, dusty pinks, stark whites and blues); and form (an anguished street sleeper beside an ecstatic statue of a saint). Throughout, occasional pictures of women are proffered as sensual, hopeful reprieve, interspersing the grit and the grime in commanding portraits or up-close, supple nudes. At once incisive in its message and lyrical in its arrangement, Maldicidade focuses attention on the city’s ineludible magnetism, as much as on its alienation and inhumanity. Biting, bare-faced, and achingly beautiful, it is a collection in which all city dwellers will find something of themselves, or something they long to escape.

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Sexual revolution, civil rights, Flower Power, miniskirt, women’s liberation, The Pill, Black Panthers, hippies; all these words and phrases entered our language in the turbulent 1960s. The decade started as an extension of the domestic ’50s and ended with worldwide chaos as baby boomers reached sexual maturity. What a fun decade for men’s magazines. While Playboy’s world dominance grew, with France, Germany, England, and Italy producing “men’s lifestyle” titles, diversification spread in the U.S. The first big breast magazines debuted, with Fling, Gem and The Swinger; men’s adventure titles – with nudes – provided nostalgia for mid-life veterans; humor magazines hung on – barely – while hippie nudist titles exploited a legal loophole allowing them to show pubic hair. Italy finally joined the party with sexy fumetto photo comics and a hero named Supersex. Latin America clung to the old burlesque format, mired in religious restriction and political unrest. France retained post-war favorite Folies de Paris et de Hollywood for an older audience and launched elegant Playboy clone LUI for its sons. While the world donned miniskirts England did England, reveling in bloomer and petticoat fetishism with Spick and Span digests. But no one topped Germany, where Ulrike Meinhof edited Konkret in 1969, a magazine of sexual and political revolution, before forming Red Army Fraction with Andreas Baader to bomb, kidnap, and assassinate her way into domestic terror history. Volume 3 contains over 650 groovy covers and photos from Argentina, England, France, Germany, Italy, and The U.S., plus text.

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WWII was devastating to Europe, but the U.S. emerged with a robust economy. People who were encouraged to save every cent for the war effort now spent freely, including on magazines. The U.S. quickly came to dominate the men’s magazine market. Playboy, launched in December 1953, made a huge impact on publishing, but it was not the only American men’s magazine in the 1950s. The quirky burlesque titles Beauty Parade, Wink, Titter and Eyeful, featuring Bettie Page and covers by artist Peter Driben, inspired a spate of competing titles. Much loved WWII pin-ups, often of aspiring starlets, led to “news and nudes” titles with cover girls Marilyn Monroe and Jayne Mansfield, and to more lurid titles like Shock, blending burlesque and celebrity scandal. In New York City a clandestine fetishist magazine industry, bankrolled by the mob, emerged, first with John Willie’s Bizarre, then Lenny Burtman’s female dominant Exotique. Argentina, with a strong European influence, produced sophisticated Vea (Watch), while England, suffering paper shortages, produced little magazines with big buxom models, charting a path it would maintain through the 1960s. Then came Playboy. Eschewing the strippers, Hugh Hefner offered up “the girl next door,” eroticized innocence, and espoused consumerism as the route to sexual success. This combination made Playboy the most successful men’s magazine in history, shaping international publishing for decades. Volume 2 in this series contains over 650 magazine covers and photos from the U.S., Mexico, Argentina and England, plus informative essays.

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Following the success of Jazz Covers, this epic volume of groove assembles over 500 legendary covers from a golden era in Black music. Psychedelia meets Black Power, sexual liberation meets social conscience, and street portraiture meets fantastical comic art in this dazzling anthology of visualized funk and soul. Gathering both classic and rare covers, the collection celebrates each artwork’s ability to capture not only a buyer’s interest, but an entire musical mood. Browse through and discover the brilliant, the bold, the outlandish and the incredibly beautiful designs that fans rushed to get their hands on as the likes of Marvin Gaye, James Brown, Curtis Mayfield, Michael Jackson, and Prince changed the world with their unique and unforgettable sounds. Featuring interviews with key industry figures, Funk & Soul Covers also provides cultural context and design analysis for many of the chosen record covers.

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The first commercial camera was introduced in 1839. By 1865 technology enabled ordinary men to create photographic negatives, and they immediately began taking and distributing photos of naked women. The French led the way, and it was the French who produced the first nude magazines in 1880, as souvenirs for patrons of Parisian music halls. Newsstand magazines followed, and the elegant La Vie Parisienne (Paris Life), full of sexy fiction and illustrations, debuted in 1914. It might all have stayed in Paris if not for WWI, when German and American troops carried the magazines home. American Wilford Fawcett launched Capt. Billy’s Whiz Bang (named after a WWI bomb) in 1919, helping launch the first sexual revolution of the 1920s, leading to SEX magazine from birth control pioneer Margaret Sanger. Decadent Weimar Berlin produced cabaret, fetish and free love magazines, countered by nudist titles pushing fascist politics, culminating in the 1933 Berlin book burning. The 1930s economic depression boosted demand for cheap escape, and men’s magazines delivered. There were film magazines of sexy starlets; “model study” art magazines; hardcore comics called Tijuana Bibles; “spicy” fiction digests with sexy painted covers; and detective titles of bad dames. When another world war erupted it required pinup magazines for fighting men, and after the war new men’s magazines rose from the ashes. Volume 1 of this series features over 700 covers and photos from France, Germany, the U.S., England, Turkey, Austria, Spain, Argentina and more, plus informative text.

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“Sinatra with a cold is Picasso without paint, Ferrari without fuel—only worse. For the common cold robs Sinatra of that uninsurable jewel, his voice, cutting into the core of his confidence.” — Gay Talese In the winter of 1965, writer Gay Talese set out for Los Angeles with an assignment from Esquire to write a major profile on Frank Sinatra. When he arrived, he found the singer and his vigilant entourage on the defensive: Sinatra was under the weather, not available, and not willing to be interviewed. Undeterred, Talese stayed, believing Sinatra might recover and reconsider, and used the meantime to observe the star and to interview his friends, associates, family members, and hangers-on. Sinatra never did grant the one-on-one, but Talese’s tenacity paid off: his profile Frank Sinatra Has a Cold went down in history as a tour de force of literary nonfiction and the advent of New Journalism. In this illustrated edition, Frank Sinatra Has a Cold is published with an introduction by Talese, reproductions of his manuscript pages, and correspondence. Interwoven are photographs from the legendary lens of Phil Stern, the only photographer granted access to Sinatra over four decades, as well as from top photojournalists of the ’60s, including John Bryson, John Dominis, and Terry O’Neill. The photographs complement Talese’s character study, painting an incisive portrait of Sinatra in the recording studio, on location, out on the town, and with the eponymous cold, which reveals as much about a singular star persona as it does about the Hollywood machine.

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From Edouard Manet's portrait of naturalist writer Émile Zola sitting among his Japanese art finds to Van Gogh's meticulous copies of the Hiroshige prints he devotedly collected, 19th-century pioneers of European modernism made no secret of their love of Japanese art. In all its sensuality, freedom, and effervescence, the woodblock print is single-handedly credited with the wave of japonaiserie that first enthralled France and, later, all of Europebut often remains misunderstood as an exotic artifact that helped inspire Western creativity.The fact is that the Japanese woodblock print is a phenomenon of which there exists no Western equivalent. Some of the most disruptive ideas in modern artincluding, as Karl Marx put it, that all that is solid melts into airwere invented in Japan in the 1700s and expressed like never before in the designs of such masters as Hokusai, Utamaro, and Hiroshige in the early 19th century.This volume lifts the veil on a much-loved bu

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Building is one of very few endeavours that are physically connected to the surface of the earth, fixed and enduring. Nevertheless, for centuries, especially in the West, we have considered ourselves separate and above nature, drifting away, defining our own systems and order, and using the ground as a nothing more than a passive foundation. Other times we sought connection, drawing on nature for ritual and religion, fortified protection, and ecological balance. This global compendium of nearly 1,400 pages brings architecture back in harmony with Earth’s surface. For years, Bjarne Mastenbroek and his architectural firm, SeARCH, have delved into the relationship architecture has, had, and will have with its surroundings, seeing buildings as landscapes that fit into their site without dominating or disturbing it. For Dig It!, they have dug deep into the history of building culture and brought to light fascinating examples of this philosophy—some well known, some previously overlooked. From African churches chiseled from rock and Chinese villages dug into terrains to Parisian housing vibrantly overgrown and a villa built into the cliffs of Capri (famously featured in the film Le Mépris starring Brigitte Bardot), this book dissects structures from the past millennia. Part atlas, part encyclopedia, it highlights traditional vernacular practices, reconsiders all-time favorites, and celebrates contemporary examples across the globe. Designed by Mevis & Van Deursen, the extensive collection features analytical drawings from SeARCH and photo essays by Iwan Baan. Dig It! acknowledges an effort to reconnect architecture and landscape and merge building with ground. Separated into six chapters (or “strategies”)—Bury, Embed, Absorb, Spiral, Carve, and Mimic—this remarkable survey reveals humanity’s connection to the earth through building culture: clever and utterly relevant for the challenges that we have and will face in both urban and natural environments.

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These rediscovered Photochrom and Photostint postcard images from the private collection of Marc Walter were produced by the Detroit Photographic Company between 1888 and 1924. Using a photolithographic process that predated the autochrome by nearly 20 years, they offered people the very first color photographs of the United States. Suddenly, the continent’s colors were available for all to see. From the rich ochres and browns of the Grand Canyon to the dazzle of Atlantic City, these places were now a visual delight not only for eyewitnesses but for Americans far and wide. Imbued with a sense of discovery and adventure, the pictures gathered here are a voyage through peoples, places, and time. They take us through North America’s vast and varied landscape, where we encounter its many communities, and above all transport us back to the United States of over a century ago. Across more than 600 pages including fold-out spreads, this sweeping panorama takes us from Native American settlements to New York’s Chinatown, from some of the last cowboys to Coney Island’s heyday. As luminous now as they were some 120 years ago, these rare and remarkable images that brought America to Americans now bring America’s past to our present.

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Andy Warhol and Jean-Michel Basquiat’s complex relationship captivated the art world then and now. At a time when Warhol was already world famous and the elder statesman of New York cool, Basquiat was a downtown talent rising rapidly from the graffiti scene. Together, they forged an electrifying personal and professional partnership. As a prolific documentarian of his own world, Warhol extensively photographed and wrote of his friendship with Basquiat, all played against the backdrop of 1980s downtown New York City. It reveals not only the emotional depth of their relationship but also its ambiguities, extremities, and complexities. Produced in collaboration with The Andy Warhol Foundation and Jean-Michel Basquiat’s estate, this book chronicles the duo’s relationship in hundreds of previously unpublished photographs of Basquiat along with a dynamic cast of characters from Madonna to Grace Jones, Keith Haring to Fela Kuti. The shots are accompanied by entries from the legendary Andy Warhol Diaries, selected collaborative artworks, and extensive ephemera. Touching, intimate, and occasionally sardonic, Warhol on Basquiat is a voyeuristic glimpse into the lives of two of modern art’s brightest stars.

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This platinum tome is the most comprehensive visual history of surfing to date, marking a major cultural event as much as a publication. Following three and a half years of meticulous research, it brings together more than 900 images to chart the evolution of surfing as a sport, a lifestyle, and a philosophy. The book is arranged into five chronological chapters, tracing surfing culture from the first recorded European contact in 1778 by Captain James Cook to the global and multi-platform phenomenon of today. Utilizing institutions, collections, and photographic archives from around the world, and with accompanying essays by the world’s top surf journalists, it celebrates the sport on and off the water, as a community of 20 million practitioners and countless more devotees, and as a leading influence on fashion, film, art, and music. An unrivaled tribute to the breadth, complexity, and richness of surfing, this book is a must-have for any serious player on the surfing scene and anybody who aspires to the surfing lifestyle. As one surfing scribe has declared, “There has never been a book like this, and there will never be another one again.”

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In Animals, we discover a different side to the famed photographer who skillfully explores animals' complex relationship with humans and the environment.Tenderness abounds, particularly in scenes of unkempt street dogs sleeping contentedly next to a human. But there's also a kind of essential solitude, with animals belonging to no one and simply wandering through life with only their survival instincts to guide them. We witness camels caught in the crossfire during the first Gulf War; a shepherd from Northern Pakistan tenderly feeding his goats; Beverly Hills designer dogs; race horses on a Hong Kong rooftop; an elephant in Thailand, and more images selected by McCurry from his vast archives.Through McCurry's lens, we discover an appreciation for each creature's beauty and silent dignity. This kaleidoscopic collection is at once a beautiful travelogue and a touching tribute to the creatures who share our planet.

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At first glance, Walton Ford’s large-scale, highly detailed watercolors of animals recall the prints of 19th-century illustrators John James Audubon and Edward Lear. A closer look reveals a complex and disturbingly anthropomorphic universe, full of symbols, sly jokes, and allusions to the ‘operatic’ quality of traditional natural history.In this stunning but sinister visual universe, beasts and birds are not mere aesthetic objects but dynamic actors in allegorical struggles: a wild turkey crushes a small parrot in its claw; a troupe of monkeys wreaks havoc on a formal dinner table; an American buffalo is surrounded by bloodied white wolves. In dazzling watercolor, the images impress as much for their impeccable realism as they do for their complex narratives.First available as a signed and limited volume, this updated edition of Pancha Tantra is the most comprehensive survey of Ford’s oeuvre to date, with more than 20 new works. It features dazzling details, an in-depth exploration of his visual universe, a complete biography, and excerpts from his textual inspirations: from Indian folktales and the letters of Benjamin Franklin to the Autobiography of Benvenuto Cellini and Audubon’s Ornithological Biography.

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On a winter’s night in 1949 in New York City, young marketing student and budding photographer Walter Chandoha spotted a stray kitten in the snow, bundled it into his coat, and brought it home. Little did he know he had just met the muse that would determine the course of his life. Chandoha turned his lens on his new feline friend—which he named Loco—and was so inspired by the results that he started photographing kittens from a local shelter. These images marked the start of an extraordinary career that would span seven decades. Long before the Internet and #catsofinstagram, Chandoha was enrapturing the public with his fuzzy subjects. From advertisements to greetings cards, jigsaw puzzles to pet-food packaging, his images combined a genuine affection for the creatures, a strong work ethic, and flawless technique. Chandoha’s trademark glamorous lighting, which made each cat’s fur stand out in sharp relief, would define the visual vocabulary of animal portraiture for generations and inspire such masters as Andy Warhol, who took cues from Chandoha’s charming portraits in his illustrated cat book. Cats leaps into the archives of this genre-defining artist, spanning color studio and environmental portraits, black-and-white street photography, images from vintage cat shows, tender pictures that combine his children with cats and more. This is a fitting tribute not just to these beguiling creatures but also to a remarkable photographer who passed away in 2019 at the age of 98; and whose compassion can be felt in each and every frame.

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Fantasy art, that colorful blend of myth, muscle and sexy maidens, took off in 1923 with the launch of Weird Tales magazine, was reinvigorated in the 1960s with The Lord of the Rings, Conan the Barbarian paperbacks with Frank Frazetta covers, and the late ’60s emergence of fantasy psychedelia. It went big in the ’70s with the role-playing game Dungeons & Dragons, the brilliant French magazine Métal Hurlant, and the first Star Wars film. The number of active artists peaked in that decade, but a new generation of fans discovered the genre through fantasy trading card games in the ’90s, leading to a massive interest in the art form today.Frank Frazetta’s oil paintings—when they infrequently come to market—have sold for more than $ 5 million in recent years. Fans line up at Comic-Cons to meet Boris Vallejo, Rodney Matthews, Greg Hildebrandt, Michael Whelan, and Philippe Druillet, and memorialize dead icons HR Giger, Jeffrey Catherine Jones, and Frazetta. This book features original paintings, contextualized by preparatory sketches, sculptures, calendars, magazines, and paperback books, for an immersive dive into this dynamic, fanciful genre. Insightful bios go beyond Wikipedia to give a more accurate and eye-opening look into the life of each artist. This collection will reign as the most exquisite and informative guide to this popular subject for years to come.

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The Big Book of Breasts was an immediate best seller when it debuted in 2006. Its 396 pages introduced readers to the top naturally bountiful nude models of the 1950s, ’60s and ’70s, amazingly mammiferous beauties including Virginia Bell, Roberta Pedon, Mary Waters, Keli Stewart and many more. The one and only complaint was that there was no biographical information on these curvaceous cuties, no lists of their magazines and films to give readers a more intimate connection. We listened, and The Bigger Book of Breasts answers! Not only are there more pages with all new photos of your favorite big breast models of the ’50s through ’70s, there are also personal profiles for each and every one. Which model married comedian Richard Pryor? Who inspired Russ Meyer’s first film? Where are those free Mary Waters loops? And yes, Roberta Pedon is alive and well! Further updating the “Bigger” theme, we added the 12 most incredible, natural, and provocative breast models of today, gathered from across the world by Berlin-based photographer, Bernd Daktari Lorenz. Nadine Jansen, Luna Amor, Miosotis Claribel and the incredible Hitomi Tanaka prove breasts are bigger than ever, and bigger is beautiful, for both breasts and books. Wrap it up with stunning photos of our original cover girl Kelly Madison and The Bigger Book of Breasts is a bigger treat for all.

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When we think Tom of Finland we first picture muscular, macho young men in military gear. Tom’s vision of masculine perfection was formed during his service as an officer during World War II. Though he served in the Finnish air force, it was the German troops, stationed in Finland to help the country repel invading Russian forces, which served as inspiration. After all, only the Germans had uniforms created by Hugo Boss, tightly tailored, replete with designer touches, and complimented by high, shiny black leather boots. Tom, at 19, was smitten, an obsession that deepened following his first sexual experiences with German officers in the blackout streets of Helsinki. Tom began putting his military fantasies on paper in 1945 to memorialize his thrilling nighttime encounters when the war ended. At first the Hugo Boss uniforms dominated, but as the years and then decades passed he included American naval uniforms as well, and then his own hybridized designs of black leather, jodhpurs, boots, and peaked caps, with military insignia replaced by Tom’s Men patches. As Tom attracted an army of loyal fans, he created, with pencil, pen and gouache, an army of free, proud, masculine fantasy men committed to pleasure and male camaraderie. The Little Book of Tom: Military Men explores Tom’s fascination with militaria through a mixture of multi-panel comics and single-panel drawings and paintings, all in a compact and affordable 192 pages. Historic film stills and posters, personal photos of Tom, sketches, and Tom’s own reference images explore the cultural context and private inspirations behind the ultimate Tom of Finland hero.

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Both eclipsed and influenced by television, American print ads of the 1970s departed from the bold, graphic forms and subtle messages that were typical of their sixties counterparts. More literal, more in-your-face, 70s ads sought to capture the attention of a public accustomed to blaring, to-the-point TV commercials. All was not lost, though; as ads are a sign of the times, racial and ecological awareness crept into everything from cigarette to car advertisements, reminding Americans that everyday products were hip to the modern age. In an attempt to discover how best to communicate with a mass audience, marketing specialists studied focus groups with furious determination, thus producing such dumbed-down gems as "sisters are different from brothers," the slogan used for an African-American hair product. By the end of the decade, however, print ads had begun to recoup, gaining in originality and creativity as they focused on target audiences through carefully chosen placement in smaller publications. A fascinating study of mass culture dissemination in a post-hippie, television-obsessed nation, this weighty volume delivers an exhaustive and nostalgic overview of 70s advertising.

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Despite numbering at just 35, his works have prompted a New York Times best seller; a film starring Scarlett Johansson and Colin Firth; record visitor numbers at art institutions from Amsterdam to Washington, DC; and special crowd-control measures at the Mauritshuis, The Hague, where thousands flock to catch a glimpse of the enigmatic and enchanting Girl with a Pearl Earring, also known as the “Dutch Mona Lisa”. In his lifetime, however, the fame of Johannes Vermeer (1632–1675) barely extended beyond his native Delft and a small circle of patrons. After his death, his name was largely forgotten, except by a few Dutch art collectors and dealers. Outside of Holland, his works were even misattributed to other artists. It was not until the mid-19th century that Vermeer came to the attention of the international art world, which suddenly looked upon his narrative minutiae, meticulous textural detail, and majestic planes of light, spotted a genius, and never looked back. This 40th anniversary edition showcases the complete catalog of Vermeer’s work, presenting the calm yet compelling scenes so treasured in galleries across Europe and the United States into one monograph of utmost reproduction quality. Crisp details and essays tracing Vermeer’s career illuminate his remarkable ability not only to bear witness to the trends and trimmings of the Dutch Golden Age but also to encapsulate an entire story in just one transient gesture, expression, or look.

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In its heyday, the American circus was the largest showbiz industry the world had ever seen. From the mid-1800s to mid-1900s, traveling circuses performed for audiences of up to 14,000 per show, employed as many as 1,600 men and women, and crisscrossed the country on 20,000 miles of railroad in one season alone. The spectacle of death-defying daredevils, strapping superheroes and scantily clad starlets, fearless animal trainers, and startling “freaks” gripped the American imagination, outshining theater, vaudeville, comedy, and minstrel shows. This book sheds fresh light on the circus phenomenon. With photographic gems of early circus performers, as well as original posters, lithographs, sideshow banners and engravings from the 16th to 19th centuries illustrating the worldwide roots of the circus, readers are transported to a world of thrill and skill, grit and glamor. Highlights include iconic circus photographs by Mathew Brady, Cornell Capa, Walker Evans, Weegee, and Lisette Model, and little-known circus images by Stanley Kubrick and Charles and Ray Eames.

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It was on a Malibu beach in 1988 that Peter Lindbergh shot the White Shirts series, images now known the world over. Simple yet seminal, the photographs introduced us to Linda Evangelista, Christy Turlington, Rachel Williams, Karen Alexander, Tatjana Patitz, and Estelle Lefébure. This marked the beginning of an era that redefined beauty, and Lindbergh would go on to alter the landscape of fashion photography for the decades that followed. This book gathers more than 300 images from forty years of Lindbergh’s career. It traces the German photographer’s cinematic inflections and humanist approach, which produced images at once seductive and introspective. In 1980 Rei Kawakubo asked Lindbergh to shoot a Commes des Garçons campaign, one of his earlier forays into commercial photography. Kawakubo gave him carte blanche. The following years brought forth collaborations with the most venerated names in fashion and resulted in a relationship of mutual reverence; Lindbergh’s respect for some of the greatest designers of our time is palpable in his portraits. Among those photographed are Azzedine Alaïa, Giorgio Armani, Alber Elbaz, John Galliano, Jean Paul Gaultier, Karl Lagerfeld, Thierry Mugler, Yves Saint Laurent, Jil Sander, and Yohji Yamamoto. Widely considered a pioneer in his field, Lindbergh shirked the industry standards of beauty and instead celebrated the essence and individuality of his subjects. He was pivotal to the rise of models such as Kate Moss, Naomi Campbell, Linda Evangelista, Cindy Crawford, Mariacarla Boscono, Lara Stone, Claudia Schiffer, Amber Valletta, Nadja Auermann, and Kristen McMenamy. Lindbergh’s reach also extended across Hollywood and beyond: Cate Blanchett, Charlotte Rampling, Richard Gere, Isabelle Huppert, Nicole Kidman, Madonna, Brad Pitt, Catherine Deneuve, and Jeanne Moreau all appear in his works. From the picture chosen by Anna Wintour as the cover of her first Vogue issue to the legendary shot of Tina Turner on the Eiffel Tower, it is never the clothes, celebrity, or glamour that takes center stage in a Lindbergh photograph. Each picture conveys the humanity of its subject with a serene melancholy that is uniquely and unmistakably Lindbergh. From the outset of his career, Lindbergh was well-known in the contemporary art world, where his photographs were exhibited in galleries long before they appeared in magazines. This edition features an updated introduction adapted from an interview in 2016, allowing a glimpse behind Lindbergh’s lens, where the photographer recounts his early collaborations, the tenuous relationship between commercial and fine art, and the power of storytelling.

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“It’s dangerous to be an honest man.” — Michael Corleone, Godfather III As special photographer on the sets and locations of Francis Ford Coppola’s The Godfather trilogy, Steve Schapiro had the remarkable experience of witnessing legendary actors giving some of their most memorable performances. Schapiro immortalized Marlon Brando, Al Pacino, Robert De Niro, James Caan, Robert Duvall, and Diane Keaton in photos that have since become iconic images, instantly recognizable and endlessly imitated. Gathered together in this book are Schapiro’s finest photographs from all three Godfather films, lovingly reproduced from the original negatives. With contextual essays and interviews covering the trilogy in its entirety, this book contains over 300 color and black-and-white images. Schapiro’s images take us behind the scenes of this epic and inimitable cinematic saga, revealing the director’s working process, capturing the moods and personalities involved, and providing insight into the making of movie history.

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One of the most creative minds of the 20th century, Walt Disney built a unique and unrivaled imaginative universe. Like scarcely any other classics of cinema, his astonishing collection of animated cartoons revolutionized storytelling on screen and enchant to this day across geographies and generations. This expansively illustrated publication on Disney animation gathers hundreds of images as well as essays by Disney experts, taking us to the beating heart of the studio’s “Golden Age of Animation.” We trace Disney’s complete animation journey from the silent film era, through his first full-length feature Snow White and the Seven Dwarfs (1937) and Fantasia (1940), right up to his last masterpieces Winnie the Pooh and the Honey Tree (1966) and The Jungle Book (1967). With extensive research conducted through the historical collections of the Walt Disney Company, as well as private collections, editor Daniel Kothenschulte curates some of the most precious concept paintings and storyboards to reveal just how these animation triumphs came to life. Masterful cel setups provide highly detailed illustrations of famous film scenes while rare pictures taken by Disney photographers bring a privileged insider’s view to the studio’s creative process.Each of the major animated features that were made during Walt’s lifetime—including Pinocchio, Fantasia, Dumbo, Bambi, Cinderella, Peter Pan, and One Hundred and One Dalmatians—is given its own focus chapter, without forgetting less-familiar gems such as the experimental short films of the Silly Symphonies series and under-appreciated episodic musical films such as Make Mine Music and Melody Time. Realizing the Disney style was a collective project and, as much as the master himself, The Walt Disney Film Archives acknowledges the outstanding animators and designers who influenced the style of the studio, among them Albert Hurter, Gustaf Tenggren, Kay Nielsen, Mary Blair, Sylvia Holland, Tyrus Wong, Ken Anderson, Eyvind Earle, and Walt Peregoy. Copyright © 2020 Disney Enterprises, Inc.

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“Sirs” begins the missive from our imaginary correspondent. “It’s not that I don’t love your original Big Penis Book, but that, perhaps, I love it too much. I now become anxious leaving the house without it, and long business trips are simply torture. Couldn’t you make a smaller, less obtrusive edition, still packed with men whose generative members measure over 8 inches, that doesn’t form a suspiciously large bulge in my carry-on luggage? And while you’re at it, could you make it highly affordable, since my pockets are as shallow as this premise?” Done! The Little Big Penis Book features over 150 massively endowed models from the 1940s through the ’90s, including photos by Bob Mizer of AMG, David Hurles of Old Reliable, Rip Colt of Colt Studio, Craig Calvin Anderson of Sierra Domino, Hal Roth of Filmco, Jim Jaeger of Third World Studios, Falcon Studios, Mike Arlen, Fred Bisonnes, Carlos Quiroz, and Charles Hovland in a compact and inexpensive format. Photos come not just from the original overstuffed 384-page edition, but from subsequent Big Penis Calendars, meaning that 30% of the content is unique to this edition. Add a reduced text to make more room for the stunning black-and-white and color photos and how could anyone—big, small, or just right—ask for a better deal?

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Menu Design in Europe is a mouthwatering feast for the eyes, featuring hundreds of European menus from the early 19th century to the end of the millennium. At once a history of continental cuisine and a sprawling survey of graphic styles, Menu Design in Europe satisfies the craving for foodies and design enthusiasts alike. The dominance of French cuisine provided the template for the culinary delights that spread throughout (and beyond) the continent. As restaurants and dining experiences increased in the 19th century, the need for a more formal presentation of available items resulted in a range of printed menus that could be both extravagant and simple. The 1891 menu from Paris’s Le Grand Vefour, with its intricate die-cut design, evokes a bustling Belle Epoque bistro, while the 1932 menu from London’s Royal Palace Hotel transports you to the bar at a spirited, Jazz Age nightspot. On the opposite side of the design spectrum, the menu for the mid-century Lasserre restaurant expresses a surrealistic simplicity. A range of stylistic decades is represented, from masterpieces of Art Nouveau and Art Deco to the graphic appropriations of the German Democratic Republic. Also showcased are the Michelin awarded restaurants of the celebrity chef–era and rarities such as a German military menu from World War II. More than just bills of fare, these menus often represent a memorable dining experience, at times being presented with as much care and attention to detail as the meal itself. So, although one cannot sit in La Tour D’Argent in 1952 and sample its famous duck dish Le Caneton Tour d’Argent, we can surely imagine what it was like when looking at the waterfowl-themed illustration displaying the night’s offerings. Featuring an essay by graphic design historian Steven Heller and captions by ephemerist and antiquarian book dealer Marc Selvaggio, Menu Design In Europe features menus from leading collectors and institutions, providing a sumptuous visual banquet and historical document of two centuries of culinary traditions.

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