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1989 is one of two books published this season by Contrasto that presents a montage of photographs from a specific year. The power of these photographs calls to mind the year’s principal birthdays and highlights its key players. 1989 was an epoch-making year; among the extraordinary events that this book records are the fall of the BerlinWall, Tiananmen Square, the Velvet Revolution in Czechoslovakia and the Exxon Valdez disaster; in the world of entertainment, the success of Madonna and George Michael; the release of the films Batman, Dead Poet’s Society and When Harry Met Sally; and in sports, the triumph of Ruud Gullitt’s and Van Basten’s Milan football team.

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What is the future of America?Will the youth play the role everybody is expecting them to? In American Youth, a group of award-winning photographers join together to take a fresh look at the youth of America today. Also known as the ‘Millennials’, they are changing the rules of work, relationships, and the future. Subjects include: NewYork City skateboarders by NathanielWelch, young prisoners in California by Jonathan Sprague, Guitar Hero fanatics by Brad Swonetz, future players in the business and political worlds by Ben Baker, young philanthropists and ROTC cadets by Mark Peterson, organic farmers by Ben Stechschulte, evangelical preachers by Erika Larsen, sorority and fraternity members at the University ofWashington by John Keatley, fishermen working to save their family businesses by Peter Frank Edwards, low rider bicycle builders in Texas by Brent Humphreys, young Native Americans living on the Oneida Nation reservation by Kevin Miyazaki, youth activists by Chris Lamarca, college kids on campuses by Greg Ruffing, drinking youth culture by Chris Mueller, and several others.

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Paolo Ventura’s Short Stories are whimsical narratives told through pictures—tales of love, war, and family—where things magically appear or disappear, set in an imaginary past of World War II Italy. Much like in silent films, the drama unfolds with no words or captions. For these works, Ventura constructed life-sized sets, in which he situated himself and members of his family (casting his son, wife, and twin brother as actors), in stories that are at once charming and disquieting. While seemingly simple, Ventura’s vignettes come with larger implications: brothers who encounter each other by surprise on the battlefield, jugglers who appear from above, a man who packs himself into his suitcase, a small-town magician who accidently makes his son disappear for real, and many others. Here, Ventura has built a world of realistic proportions and actors, in fantastical tales and against painted backdrops—challenging notions of what is real and what is make-believe. This book collects the entire series of Ventura’s Short Stories together for the first time, including three previously unpublished, and offers a glimpse into the artist’s extraordinary imagination. Paolo Ventura (born in Milan, 1968) graduated from the Accademia di Belle Arti di Brera in Milan in 1991. His work has been exhibited internationally, including at Forma International Center for Photography, Milan; Rencontres de la Photographie, Arles, France; and Maison Européenne de la Photographie, Paris. He also created a series of works for the Italian pavilion at the 2011 Venice Biennale. His works have been acquired by prominent collections, including the Museum of Fine Arts, Boston; Library of Congress, Washington, D.C.; and the Margulies Collection, Miami. His monographs include War Souvenir (2006), Winter Stories (Aperture and Contrasto, 2009), and The Automaton (2012).

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Lo studio sulle 277 anfore puniche rinvenute nelle necropoli di Himera che si presenta in questo volume è frutto di una ricerca approfondita condotta a partire dei dati di scavo e attraverso un’attenta analisi e classificazione dei singoli contenitori, senza tralasciare le opportune analisi archeometriche ed epigrafiche. La possibilità di incrociare elementi diversi, con riferimenti cronologici spesso molto precisi grazie all’associazione con i corredi funerari, ha consentito di andare ben oltre la redazione di un semplice catalogo, seppure completo, restituendo uno straordinario complesso di materiali nella loro prospettiva storica e nel significato del quadro dei commerci tirrenici di età arcaica e classica. Le anfore studiate coprono un quadro cronologico molto preciso, dalla seconda metà del VII sec. a.C. al 409 a.C., data della distruzione di Himera, attestando forme di contatto e scambio di merci tra la colonia e i vicini emporia punici della Sicilia Occidentale: Mozia, Palermo e Solunto che dista da Himera solo poche decine di chilometri. Tuttavia, è attestato l’arrivo in questa città greca di anfore da trasporto provenienti da tutto il mondo punico: Sicilia, Cartagine, Sardegna e Spagna, con una notevole varietà di tipi che conferma la grande vitalità degli scambi marittimi e della circolazione delle merci che costituì uno dei fattori fondamentali di sviluppo e di prosperità per i centri costieri della Sicilia centro-settentrionale. In sostanza, fin dai primi decenni di vita, e con intensità crescente, i Greci ebbero rapporti “commerciali” con gli emporia punici e con la stessa Cartagine, come documentato dalla presenza di tipi di anfore rinvenuti in questa colonia greca, ma non ancora individuati nelle città puniche di Sicilia. Sappiamo dalla storia che le vicende di Himera sono segnate dai grandi scontri con Cartagine, dalla battaglia del 480 a.C. alla distruzione del 409 a.C., momenti di grande intensità che evidenziano forti conflitti, ma nello sviluppo quotidiano delle relazioni, che sono conseguenza anche degli scambi commerciali, l’intensa presenza di prodotti punici, lungo tutto l’arco di vita della colonia, sembra raccontare, eloquentemente, un sistema di legami molto solido. Greci e Punici entrarono si in contrasto militare, quando gli equilibri strategici e politici si incrinavano, ma sostanzialmente l’arrivo di prodotti, trasportati dalle navi che battevano la costa tirrenica dell’isola, è indice di un assetto generale molto meno conflittuale e duraturo rispetto a quanto gli episodi di guerra suggeriscono.

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Walking the fine line between fiction and non-fiction, Murray creates a hauntingly beautiful narrative book that navigates the psychology of men through an exploration of portraiture and place. Intimate portraits and enigmatic landscapes deliberately mix fact and fiction, past and present, myth and reality. Katie Murray is an American photographer and video artist. She received her BFA in 1997 from the School of Visual Arts and her MFA from Yale University School of Art in 2000. Murray’s work concerns itself with the primal and mythological. She has exhibited in solo and group shows to include: [The Barbara Walter’s Gallery at Sarah Lawrence College (2014), The Museum of Contemporary Photography, Chicago (2014) The Photographers’ Gallery, UK (2013) College of the Canyons Art Gallery (2012), HomeFront Gallery, NY (2011), World Class Boxing, Miami (2010), Kate Werble Gallery, NY (2009), International Center for Photography (2008) White Columns, NY (2004) Jen Bekman Gallery (2004), Queens Museum of Art, NY (2004), and The Yale Art Gallery, CT (2000)]. She received the New York State Residents Grant for Excellence in Photography in 1996, the Robin Forbes Memorial Award in Photography in 1997, the Barry Cohen Award for Excellence in Art in 2000, and a NYFA grant in 2012. Murray’s work has been published in various magazines, books and catalogues. Murray’s work is held in numerous private and public collections. Murray is a faculty member at Hunter College, Sarah Lawrence College, and School of Visual Arts. Maria Antonella Pelizzari teaches courses in the History of Photography at Hunter College, focusing on issues of cultural representation, historiography, and collecting, for both nineteenth- and twentieth-century works. Her expertise covers a wide range of subjects and time periods, such as Italian photography and culture from its beginnings to the present, nineteenth-century British colonialism, American modernism, and the interdisciplinary dialogue between photography and architecture. She is the author of Photography and Italy (London: Reaktion Books, 2011), a historical study that represents the first and only book on this subject in English literature, which will be also published by Contrasto, Milan. She has edited the volume Traces of India: Photography, Architecture and the Politics of Representation, CCA and Yale Center for British Art, 2003 (awarded the book prize “Historians of British Art” in 2004) and has contributed essays to several books (among them, Art for Venice, London: Ivorypress, 2011; Desire for Magic: Patrick Nagatani 1978-2008, University of New Mexico Art Museum, 2010; Picturing Place: Photography and the Geographical Imagination, London and New York: I. B.Tauris, 2002; America: The New World in 19th- Century Painting, Munich, London, New York: Prestel, 1999). Her essays have been published in History of Photography, Visual Resources, Afterimage, Performing Arts Journal, Casabella, Fotologia, Photography and Culture, Perspectives. Actualités de la recherche en histoire de l’art, and CV Magazine. She has co-edited (with Paolo Scrivano, Boston University) a new volume of Visual Resources. An International Journal of Documentation on “Intersection of Photography and Architecture” (Vol.XXVII, N.2, June 2011) and is working on a new book on photomontage in Italy in the 1930s. Pelizzari earned her PhD from the University of New Mexico and her MA from the Universita’ di Genova, in Italy. She has been Associate Curator of Photography at the Canadian Center for Architecture in Montreal, and has held teaching positions at Concordia University (Montreal) and Ryerson University (Toronto).

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