Touch Me I’m Sick Photographs by Charles Peterson Introduction by Eddie Vedder Essay by Jennie Boddy Poised at the epicenter of an explosive underground scene, photographer Charles Peterson witnessed the birth of a brash new era of music that grabbed the world by its throat and refused to let go. Grunge, the bastard child of 60s garage and 70s punk, revived the original, gritty spirit of rock and roll: rebellion ain’t pretty, but it sure is fun. Featuring ninety-two photographs—eighty of them never-before-published—spanning sixteen years, Touch Me I’m Sick, Peterson’s third monograph, documents the raw power of live performances by the soon-to-be-famous artists and their dedicated fans. Yet Peterson’s photographs don’t rely on the cult of celebrity to tell this compelling tale of angst, anxiety, and acoustics. Rather, they capture the cathartic ritual between musician and fan played out in seedy clubs reeking of sweat and stale beer. Bored, alienated youth with nothing better to do than bash their instruments and mosh their bodies in a barrage of sound, song, and furious energy are captured through Peterson’s signature style of wide-angle intimacy, swirling lights, and strange sense of grace. Peterson creates timeless, artistic imagery out of this swiftly passing frenzy, and shatters the godhead of the rock star, revealing the band and audience as co-conspirators in rock’s latest, greatest revival. Featuring photographs of Nirvana, Pearl Jam, Soundgarden, Sleater-Kinney, Mudhoney, Sonic Youth, L7, Hole, and Black Flag, among others, as well as excerpts from Your Flesh, Flipside, Melody Maker, B-Sides, Swellsville, and Chemical Imbalance, Touch Me I’m Sick is the perfect mix of art and journalism for music purists and connoisseurs. “And you know what? I think other photographers secretly want to be like Charles and Charles secretly wants to be like other photographers. And it’s a hard call—would you rather have that street cred, punk rock hipness, and respect from all the cool bands, or industry suave that gets major magazine editors and record exec dorks to fly you all over the world for photo shoots and pay you outrageous amounts of money?” —Jennie Boddy, Your Flesh #25 More about the authors powerHouse Gallery exhibition: Touch Me I'm Sick (April 1 – May 1, 2004)
				Buy Me
		Music/Photography/ Soon-To-Be-Retro Fashion Hardcover, 9.375 x 12.25 inches, 144 pages, 92 tritone photographs ISBN 1-57687-191-6, $40.00 Limited Edition of 80 including a clothbound slipcased book and two signed prints ISBN 1-57687-198-3, $275.00 Limited Edition Poster: $25.00 Book + Poster: $60.00 Poster is FREE with purchase of the Touch Me I'm Sick Limited Edition Book Peterson on Kurt Cobain Press Report all prices are subject to change

							so8os: A Photographic Diary of a Decade Photographs by Patrick McMullan Introduction by Jay McInerney Foreword by Michael Musto Afterword by Tama Janowitz “If you don’t know Patrick McMullan, you ought to get out more!” —Andy Warhol With a career spanning three decades, Patrick McMullan is one of the world’s most celebrated party, fashion, and society photographers. Possessing status on par with his subjects, McMullan knows the intricate connections of those exalted few who live behind the velvet ropes. His relentless documentation of the famous figures who made New York City's nightlife the definition of decadence in the age of excess is collected for the first time in so8os: A Photographic Diary of a Decade. A consummate chronicler, Patrick McMullan began his career in the early 1980s shooting the downtown scene alongside nightclub scribe Stephen Saban for the original Details magazine, with nothing more than an Instamatic camera and the encouragement of Andy Warhol. In so8os, he brings us back into the exclusive world of glamour and glitz as it was experienced by the era’s greatest fashion, music, and art icons who mixed uptown elitism with downtown eccentricity in New York City’s nightlife. Shot in such legendary nightspots as Studio 54, Area, Danceteria, Limelight, and the Cat Club, so8os features unreleased photos from the Patrick McMullan archives. In these pages, McMullan shares with us his photographic diary that holds the essence of New York characters and night crawlers. Beautiful people populating these pages of societal history include Carl Bernstein, William Burroughs, Bob Colacello, Michael Musto, Jay McInerney, Tama Janowitz, Pat Hackett, Anthony Haden-Guest, Richard Johnson, Fran Lebowitz, Cookie Mueller, Glenn O’Brien, Paige Powell, Stephen Saban, Jeffrey Slonim, Richard Turley, John Waters, Kevin Bacon, Drew Barrymore, Matthew Broderick, Glenn Close, Joan Collins, Shirley MacLaine, James St. James, Corey Feldman, Michael J. Fox, Corey Haim, Pee-wee Herman, Rob Lowe, Sylvia Miles, Olivia Newton-John, Jack Nicholson, Tatum O’Neal, River Phoenix, Christopher Reeve, Joan Rivers, Kevin Spacey, Sylvester Stallone, Raquel Welch, Nan Kempner, John F. Kennedy, Jr., Adam Ant, Fab 5 Freddy, Lou Reed, Cher, Duran Duran, Boy George, Debbie Harry, Billy Idol, Grace Jones, Cyndi Lauper, Courtney Love, Madonna, Liza Minnelli, Ozzy Osbourne, Robert Palmer, Iggy Pop, Joey Ramone, Nick Rhodes, David Lee Roth, Bruce Springsteen, Sting, Susanne Bartsch, Dianne Brill, Tina Chow, Carmen D’Alessio, Johnny Dynell, Eric Goode, Cornelia Guest, Jane Holzer, Bianca Jagger, Perri Lister, Ann Magnuson, Claire O’Connor, Sally Randall, Steve Rubell, Rudolf, RuPaul, Elizabeth Saltzman, Anita Sarko, Ian Schrager, John Sex, Zoe Tamerlis, Tinkerbelle, Teri Toye, Chi Chi Valenti, Bobby Zarem, Jean-Michel Basquiat, Mary Boone, Louise Bourgeoise, Francesco Clemente, Henry Geldzahler, Keith Haring, David Hockney, Robert Mapplethorpe, Steven Meisel, Kenny Scharf, Julian Schnabel, Andy Warhol, Patricia Field, Tom Ford, Halston, Carolina Herrera, Iman, Marc Jacobs, Betsey Johnson, Donna Karan, Calvin Klein, Zandra Rhodes, Yves Saint Laurent, Francesco Scavullo, Brooke Shields, Stephen Sprouse, Diane von Furstenberg, Diana Vreeland, and many more. “Patrick McMullan has come to epitomize not just a certain strata of celebrity, but the bona fide celebrification of the photographer.” —David Friend More about the authors Press Report Photography/Celebrities/New Wave Culture Hardcover, 9.25 x 11.75 inches, 432 pages, over 500 duotone photographs ISBN 1-57687-187-8, $80.00
		$80.00 Buy Me all prices are subject to change
							Pictures Photographs by Jeff Bridges Foreword by Peter Bogdanovich Produced in association with Herter Studio “Jeff Bridges has constructed a rich, compelling, and highly personal chronicle of behind-the-scenes Hollywood.... This is a unique and important contribution to the photographic literature.” —Richard Misrach  This extraordinary book of images represents a lifetime of photographic practice by one of Hollywood’s most compelling actors. A four-time Academy Award nominee, Jeff Bridges has starred in many of the most beloved films of our time, including The Last Picture Show, The Fabulous Baker Boys, Starman, The Fisher King, Fearless, American Heart, The Big Lebowski, The Contender, and Seabiscuit, this summer’s upcoming blockbuster feature from Universal Pictures. Bridges has collaborated with some of the most respected directors in Hollywood, among them Peter Bogdanovich, the Coen Brothers, Terry Gilliam, Francis Ford Coppola, Ridley Scott, and Peter Weir, and has costarred with many of the silver screen’s most compelling actors: Kevin Spacey, Julianne Moore, Philip Seymour Hoffman, Tobey Maguire, Tommy Lee Jones, Robin Williams, Nick Nolte, John Turturro, Gary Oldman, Tim Robbins, Michelle Pfeiffer, Lauren Bacall, Joan Allen, Amanda Plummer, Isabella Rossellini, Ellen Barkin, Barbra Streisand, Jessica Lange, Penelope Cruz, and Jane Fonda, to name but a few. For more than twenty years, on dozens of film sets, Bridges has perfected his own photography, shooting between takes and behind-the-scenes with a Widelux F8 camera. This fascinating, surprisingly candid body of work began as a personal project, as he recorded the arduous, emotionally intense, evanescent work of the film shoot in books that were privately printed and given as gifts to cast and crew. These are not traditional “Hollywood” pictures, but rather—despite the costumes and lighting, the crowds of extras, the stardom of the subjects—pictures of friends at work. Taken together, the pictures act as Bridges’ personal and professional diary, with actors, directors, and crew appearing as coworkers, all equal participants in the job at hand. With a foreword by Peter Bogdanovich and Jeff Bridges’ hand-written commentary and captions throughout, Pictures promises to be a rare and exciting publishing event, offering a vision of Hollywood that is both intimately human and formally beautiful. Jeff Bridges’ proceeds from Pictures will be donated to the Motion Picture & Television Fund, a non-profit organization that offers charitable care and support to film-industry workers. More about the authors Press Report Photography/Hollywood/Film Hardcover, 12.25 x 9.875 inches, 192 pages, 119 duotone photographs ISBN 1-57687-177-0, $45.00 Two Limited Editions of 150, including a cloth clamshell box and choice of two signed prints ISBN: 1-57687-178-9, $500.00 all prices are subject to change
		Buy Me all prices are subject to change
							Orientalia: Sex in Asia Photographs by Reagan Louie Essay by Tracy Quan Every day, thousands of young Asian women go to work in the sex industry, a marketplace in which any desire can be satisfied for a price—despite the fact that many Asian countries are repressive to the point of banning certain standard sexual practices. For six years, Asian-American photographer Reagan Louie journeyed through this sexual underworld, visiting nearly a dozen countries including Cambodia, China, Hong Kong, the Philippines, Vietnam, Tibet, Thailand, and Japan, among others, photographing the day-to-day lives of women who, either by choice or by necessity, exchange their bodies for money. Orientalia: Sex in Asia reveals the concealed, yet readily available industry that thrives by fulfilling fantasy. From Thai sex emporiums and Japanese image clubs to Philippine dance halls and Taiwanese betel nut stands, Louie’s travels through this underground subculture expose a world where the mythical archetypes of female Asian sexuality—from the submissive Madame Butterfly to the dominating Dragon Lady—are maintained. The women depicted here are at times seductive and playful, entertaining their clients with sex, massages, or simple companionship; but they can also be desperately sad or indifferent as they finish with one client and pass hours before their next encounter. At once alluring and unsettling, intimate and acute, Orientalia also features Louie’s narrative of his journeys, revealing the context in which these photographs were shot, and providing further insight into this exotic, sometimes erotic, and far from quixotic industry. More about the authors Press Report Photography/Sex Industry/Asian Studies Paperback, 8 x 10 inches, 192 pages, 126 four-color photographs ISBN 1-57687-186-X, $35.00 all prices are subject to change
			Buy Me

						Young Bob: John Cohen’s Early Photographs of Bob Dylan By John Cohen Featuring excerpts of early radio interviews by Cynthia Gooding, Oscar Brand, and Studs Terkel In 1962, a young John Cohen—musician, filmmaker, photographer, and later author of the best selling photography book There is No Eye (powerHouse Books, 2001)—and the young songwriter Bob Dylan went to Cohen’s East Village loft for a few hours to make some photos and a short film of, as John Cohen recalls, “a moment of invention…without planning, and with the freedom that comes from uncertainty.” The never-before-published, black-and-white photographs in Young Bob are a unique and spectacularly intimate document made on the cusp of Bob Dylan’s fame—just before the release of Dylan’s revolutionary self-titled first album and well before the international legend that Dylan became was born. To complement the images, Cohen painstakingly transcribed and edited forgotten radio interviews, aired between 1961 and 1963. The interviews conjure up voices from the past in which you can hear the youthful Dylan joking and quipping with WBAI’s Cynthia Gooding, WNYC’s Oscar Brand, and WFMT’s Studs Terkel. With a flourish of color, Cohen’s recently rediscovered Ektachromes shot in 1970 for the album Self Portrait appear at the end of Young Bob. These finely constructed “self-portraits,” art directed by Dylan himself, offer a contrast to the uninhibited loft and rooftop photos, and offer bittersweet testimony to the passing of the young Bob on John Cohen’s rooftop—now and forever transformed into the myth of Dylan, the world-famous songsmith legend. “These are pictures from a more innocent time at the beginning of Bob Dylan’s career. This is what he might have looked like when he first arrived in New York.... The making of these photographs was straightforward. We weren’t trying to create a persona. I was more interested in documenting what was before the camera, and what I was seeing wasn’t so clear. The session was a free-flowing pursuit of picture making. We didn’t know what he was going to look like.” —John Cohen More about the authors Music/Photography/Dylanography Hardcover, 9.75 x 9.75 inches, 72 pages, 31 duotone and 12 four-color photographs, and 19 duotone filmstrips ISBN 1-57687-199-1, $24.95 all prices are subject to change
			Buy Me
						Juvenile Photographs and Text by Joseph Rodríguez Introduction by Nell Bernstein In 1989, juvenile courts handed 1.2 million delinquency cases. A decade later, this number had risen 44 percent, to 1.8 million. During this same period the violent-crime index dropped for juveniles. Today, there are more than 100,000 young people behind bars in the United States, 14,000 of them housed in adult jails or prisons. Two thirds of these are people of color, though minority youths account for one third of the entire juvenile population. Most of the incarcerated are boys, but the number of female inmates is rising at nearly three times the rate for that of males. Each year, about 11,000 detainees try to kill themselves. For his second powerHouse Books monograph, Juvenile, photographer Joseph Rodríguez spent several years following several youths, from arrest, counseling, trial adjudication, and incarceration, to release, probation, house arrest, group homes, and the search for employment and meaning in their lives. Additionally, Rodríguez documented some of the people who work in the juvenile justice system: judges, public defenders, district attorneys, probation officers, and social workers. Many of these kids face great obstacles, including a criminal justice system with decreasing political interest in offering second chances. Through the power of his photographs, Rodríguez shows us how these kids struggle and how they fight to change their lives. “A couple of years ago my mother was cleaning out my old room when she came across some letters I had written back in the early 70s while I was incarcerated on Rikers Island. They were the usual prison letters of remorse and forgiveness. I look at these letters now and remember how I felt as a young man struggling to find my way. Coming out of prison was a daunting experience. I had been placed on probation for drug possession. There was little support for my transition back into society—the only advice my probation officer gave me was: ‘You better get a job.’ But I did get a second chance; I found photography. Eventually I moved out of the community where I had gotten into trouble, educated myself, and became a productive member of society. These experiences became my motivation for this documentary project.” —Joseph Rodríguez More about the authors Photography/Sociology/Youth Culture Hardcover, 9.25 x 9.75 inches, 160 pages, 91 duotone photographs ISBN 1-57687-138-X, $29.95 all prices are subject to change
		Buy Me
						Fragments from the Delta of Venus Artwork and introduction by Judy Chicago Text selections from Anaïs Nin Iconic erotic writer Anaïs Nin wrote of feminist artist Judy Chicago in the seventh volume of her Diaries, “Our first meeting was very interesting. I was intimidated by [Judy’s] powerful personality. She was intimidated by the lady of the Diaries.... But what happened is that we immediately felt a tenderness and recognized that we needed each other.” From this encounter, a personal friendship and professional alliance flowered and continued to bloom until Nin’s death in 1977. Nin, a feminist of the first wave, considered Chicago her “radical daughter.” Where Nin was graceful, Chicago was confrontational. Where Nin was evocative, Chicago was provocative. Yet both sought the same goal: freedom for female self-expression, unfettered by the constraints of patriarchal posturing. Their relationship—a dialogue between the early and latter halves of the twentieth century—helped Chicago transcend her internalized taboos and fully express her creative power. As a tribute to the legacy of her mentor, Chicago shares some of her memories of their encounters in her introduction to Fragments from the Delta of Venus, a collection of twenty artworks pairing Chicago’s sensuous watercolor images with extremely evocative phrases from Nin’s famed collection of stories. The book promises to be a breakthrough in the history of erotic art, which—for centuries—has belonged almost exclusively to male artists and a male audience. Fragments from the Delta of Venus might be said to be a continuation of Chicago and Nin’s earlier dialogue, illuminating, in both images and words, the powerful fantasies and desires of the female mind. Fragments from the Delta of Venus will be released on Valentine’s Day, 2004, perfectly timed to warm your lover’s heart—and more. More about the authors powerHouse Gallery exhibition: Nine Fragments from the Delta of Venus Art History/Feminist Studies/Sexuality/Gender Hardcover, 7.25 x 9.5 inches, 102 pages, including 1 multipage gatefold, 21 four-color illustrations ISBN 1-57687-182-7, $25.00 all prices are subject to change
		$25.00 Buy Me all prices are subject to change
		LOOK INSIDE!!
						New Yorkers: As Seen by Magnum Photographers Edited with an Introduction by Max Kozloff Differing from other photo books about New York, New Yorkers: As Seen by Magnum Photographers introduces a gallery of eye-catching, untamed images of the metropolis taken by members of the renowned Magnum photo agency. Known for their spirit of independence, these photographers proffer droll, enigmatic, melancholic, enchanting, perhaps even effervescent scenes of the world’s most well known city, often combining these disparate sensibilities together, against great odds, in a single image. For these pictures to have been on target, they had to be off-kilter—as charged with contradiction and nuance as the reality of their subjects. The photographers in this book come from many countries and, armed with a wide range of purposes, are united only by their membership in Magnum Photos. Though best known for reportage of global wars and crises, they have created a New York archive of great magnitude documenting the last sixty years of New York’s—and Magnum’s—history. Of the more than one hundred and fifty photographs in New Yorkers, only a fraction have ever been published. Leafing through New Yorkers, edited by the acclaimed art critic Max Kozloff, is like walking the streets of New York City, beguiled by its implausible and mixed energies, renewed at each turn of a corner. Throughout the city’s sidewalks, bars, subways, rooftops, bridges, street corners, diners, barbershops, boardwalks, and empty lots, and inside its ball games, parks, protests, parades, society events, and myriad trade districts, these photographers have roamed freely, snapping its denizens with a realism that smarts and a wit that sparkles, featuring never-before-seen work by Henri Cartier-Bresson, Robert Capa, Inge Morath, Elliott Erwitt, Bruce Davidson, Leonard Freed, Raymond Depardon, Eve Arnold, Dennis Stock, Ferdinando Scianna, Richard Kalvar, Burt Glinn, Eli Reed, René Burri, Susan Meiselas, and more. New Yorkers: As Seen by Magnum Photographers emphasizes the color work of the Magnum photographers, much of it surprisingly early, and contains an essay by Kozloff, who tackles his offbeat selection with relish. More about the authors Photography/New York Hardcover, 10.25 x 10.25 inches, 176 pages, 143 duotone and 42 four-color photographs ISBN 1-57687-185-1, $45.00 all prices are subject to change
		$45.00 Buy Me all prices are subject to change
						Aging in America: The Years Ahead Photographs by Ed Kashi Essays and interviews by Julie Winokur Foreword by Doris Roberts Preface by Dr. Robert Butler Pictures of the Year International Best Photography Book of 2003: Judges’ Special Recognition Multi-Media Division / Multi-Media Story and Essay: First Place, MSNBC.com, “Aging in America” “Oldness is an adventure. Stepping into the bathtub, hurrying to the phone, or just going down the stairs presents as much risk as traveling camelback in the Gobi.” —James Hillman, The Force of Character Another baby boomer turns fifty every seven-and-a-half seconds. At this rate, by 2030, one quarter of the United States’ population will be over sixty-five, and by mid-century, the senior citizen population is expected to reach eighty million, outnumbering the population of young people for the first time in history. Aging in America chronicles the immense and unprecedented changes confronting America as advanced age goes mainstream. Photographer Ed Kashi and writer Julie Winokur first began this project as an award-winning story published by The New York Times Magazine. They then began documenting in greater detail a broad range of issues relating to aging, from the upsurge of elderly immigrants following their children to America to a tornado’s exacting toll on a rural elderly community. They traveled with the Loners of America, an RV club for mature singles, and delved into a retirement community where Alzheimer’s patients work in a child daycare facility. They tracked the campaign of a seventy-six year old running for office for the first time, documented a woman launching her modeling career in her sixties, and celebrated the wedding of an octogenarian couple. “The reality of aging will force us to come to terms with the fact that longevity doesn’t mean eternal youth,” explains Winokur. “America is a society in collective denial of aging. We appreciate vintage in wine, not people.” Changing this perception is the intent of Aging in America, the first comprehensive visual account of contemporary senior living in this country. Exhibition Schedule: •Berkeley Art Museum, Berkeley October 8, 2003 – January 18, 2004 •Leica Gallery, New York June 24, 2004 – August 7, 2004 More about the authors Press Report Sociology/Photography/Current Events/Aging Hardcover, 9.385 x 12 inches, 256 pages, 149 duotone photographs ISBN 1-57687-193-2, $45.00 all prices are subject to change
			Buy Me
						Wild Things Photographs and text by Britta Jaschinski “If a lion could speak, we would not understand him.” —Ludwig Wittgenstein A modern and unconventional tale of creation and life force, Wild Things is a tribute to all that remains untouched by human civilization. Openly declaring her love for the wilderness and its inhabitants, Jaschinski celebrates the natural order of the earth’s habitats and apologizes to the animals for the havoc wreaked by the dominance of human nature. From the cheetahs, giraffes, and elephants of the wide-open plains to the polar bears, whales, and seals of the open seas, Jaschinski’s subjects alternatively explode off the page with anger or retreat with sadness at the impending threat of extinction. Juxtaposed with evocative land and skyscapes, her portraits of these amazing animal populations underline the beauty and fragility of our earth’s ecosystems. Exquisitely produced with Japanese binding, Wild Things is a lovingly rendered visual poem raising our awareness of the importance of leaving what existed before us as it was intended. More about Britta Jaschinski Nature/Photography/Eco-Artist’s Book Hardcover, 11.75 x 7.75 inches, 104 pages in Japanese binding, 94 four-color and black-and-white photographs ISBN 1-57687-176-2, $25.00 all prices are subject to change
	$25.00 Buy Me all prices are subject to change

25 Under 25 Up-and-Coming American Photographers Edited by Iris Tillman Hill Preface by Lauren Greenfield Introduction by Tom Rankin A Lyndhurst Book 25 Under 25 showcases twenty-five of America’s most promising photographers, twenty-five years old and younger. Illuminating and sometimes startling, the collection introduces work by an emerging generation of photographers at the start of their careers. These talented artists’ exploration of the medium is surprisingly sophisticated and engaging—their approaches to the art include photojournalism, highly personal essays, art constructions, candid snaps, portraits, still lifes, and photographs with a message. 25 Under 25 is a window into the dreams, anxieties, and ambitions of these innovative young photographers, of whom we will be seeing much more in years to come. This vibrant collection reveals how these photographers are looking at the world and how they see themselves. Whether “straight photography” and documentary essays or highly personal and expressionistic stories, the work covers as broad a range of intriguing subjects and places as their titles suggest: “Dirt Track” (Andrew Rogers), “Cake and Hot Dogs” (Andreanna Lynn Seymore), “Working at Sloan” (Daniel Ramos), “Miss All-Star” (Colby Katz), “I Looked Like a Kid from Far Away” (Chana Warshauer-Baker), “Orphanage” (Misty Keasler), “Mother’s Unrealized Vacations” (Deirdre A. Scaggs), “Reason to Stare” (Hank Willis Thomas), “Postcards to Bangladesh” (Jason Goodman), “Between Monsoons” (Alex Ambrose), “After Midnight, Before Six A.M.” (Jen Moon), “Residue” (Isabelle Lutterodt), “Soviet Military Base, Former East Germany” (Brian McKee), “Harvard Works Because We Do” (Greg Halpern), “Broad Stripes, Bright Stars” (Kristin Posehn), “Under One Roof” (Jessica Ingram), “Abe” (Brett Myers), “Slight Apprehensions” (Laurel Ptak), “4th and Goal” (Kambui Olujimi), “Expressions of Self” (Justin Lively), “Spiritual Sites—A Caribbean Study” (Wyatt Gallery), “If I Could See Your Face I Would Not Need Food” (Eric Gottesman), “#36005-054” (Carrie Levy), “Lady Like” (Bayeté Ross-Smith), and “Girls’ School” (Laurel Nakadate). More about the authors Photography/Art Paperback, 9.25 x 11.25 inches, 168 pages, 132 four-color and 78 black-and-white photographs ISBN 1-57687-192-4, $24.95 all prices are subject to change

Buy Me

Aaron Siskind 100 Photographs and credo by Aaron Siskind A Blind Spot Book One of the most important and influential artists working with photography during the twentieth century, Aaron Siskind is being celebrated on the occasion of his 100th birthday with the publication of this elegant and comprehensive monograph, bringing together both well-known and never-before-published images. Siskind’s prolific career spanned six decades and left its mark on both photography and painting. In 1932, at age twenty-nine, Siskind began his career as a photographer and spent the next nine years under the auspices of the New York Photo League working on social documentary photography. Around 1940, Siskind made a shift toward abstraction and entered an art world populated by painters and sculptors. During the course of the decade, Siskind began to explore a vision that depended on the shallow plane, and utilized delicate, minimal designs. “For the first time in my life subject matter, as such, had ceased to be of primary importance,” Siskind explained. “Instead I found myself involved in the relationships of these objects, so much so that the pictures turned out to be deeply moving and personal experiences.” The photograph had become the object. Siskind’s style of gesture and nuance, a new form of visual calligraphy, dominated his work for the next forty years, and ran parallel to the developments of his colleagues, the abstract expressionists. Siskind was not only a critical figure in modern photography, but he also influenced the work of painters of that period, including Willem De Kooning, Franz Kline, and Robert Rauschenberg. Aaron Siskind 100, the book and exhibition, honors the legacy of this legendary artist through six decades of an incredible photographic journey. More about the authors Photography/Art Clothbound, 10 x 13.25 inches, 176 pages, 104 tritone photographs ISBN 1-57687-194-0, $65.00 all prices are subject to change TRAVELING EXHIBITION SCHEDULE: •Museum of Fine Arts, Houston July 3–September 26, 2004

Buy Me

Autrefois, Maison Privée Photographs by Bill Burke Essay by Bernard Fall Letter by Prince Sirik Matak Photographer Bill Burke has taken annual trips to Indochina ever since he first traveled to Asia in 1982. Although he usually photographed the people, Burke became aware of how the architecture absorbed as much as reflected the region’s history. Transfixed by buildings like the municipal offices built by the French in the 1860s, the vaulted railroad stations and post offices of the 1930s, and the art deco fantasy cinemas of the 1960s, Burke saw the region as an architectural museum, rotting in the humidity and untouched by economic ambition, and began to trace the cultural changes in the area through its architecture. In Autrefois, Maison Privée—the title means “once a private house,” and refers to the prevalent reappropriation of once private houses for municipal and government use—Burke captures the dramatic history of the area, from the influence of French colonialism through the rise of communism and the devastating effects of the Vietnam War, to the repopulation of Cambodia after the fall of Pol Pot and the Khmer Rouge and the opening of the area to capitalism. Burke’s first entrée into Indochina occurred during the period of Soviet control, a period of recovery that allowed for the current explosion of capitalism, which has already begun to devastate an architectural heritage that was well preserved in the deep freeze of socialism. What the B-52s and tanks didn’t destroy during decades of war, developers from neighboring countries are busily replacing and defacing with their shrines of commerce. Autrefois, Maison Privée is the only book to delineate this transformation; featuring Burke’s signature gritty layout and design, Autrefois, Maison Privée is a marvel livre deluxe of history, architecture, and photography. More about the authors Architecture/Photography/Asian Studies Clothbound, 14.5 x 11.25 inches, 184 pages, 98 quadratone photographs ISBN 1-57687-180-0, $75.00 all prices are subject to change

Buy Me LOOK INSIDE!!

Attracted to Light Photographs by Doug and Mike Starn Introduction by Demetrio Paparoni Fiction and text selections from Victor Pelevin Text selection from Vladimir Nabokov A Blind Spot Book Perhaps Nabokov prefigured Attracted to Light in his fictional four-volume set called The Butterflies and Moths of the Russian Empire in “Father’s Butterflies”: “the illustrations are still more perfect—the downy, velvety texture, the blurry translucence of various families of moths are rendered so delicately you would be afraid to run your finger across the paper....” A sumptuously oversized and exquisitely produced book, Attracted to Light showcases the Starns’ extensive conceptual portrait series of the nocturnal moths’ mysterious journey and the seeming gravitational force that light has over them, “captured” in photographs and filmic video footage. “Light necessitates darkness, the shadow created by anything physical. But black is not only the lack of light—it is also the complete absorption of light. The void and reservoir of what we want, what we need; light is power, it is knowledge. When we look into the deep, velvety black eyes of moths we see both emptiness and (the absorption of) light. No one understands why moths are attracted to light. It's neither to mate nor to eat: many moths don’t eat at all; some don't even have mouths. Like butterflies, moths are almost as light as air, but they’re the poor stupid cousins. Choosing to live their lives at night, flying from nowhere towards the end of their lives—fragile, dusty wings in tatters. A moth will bounce across a ceiling, orbit a lamp, fly into a flame, or self-immolate like a Buddhist monk.” —Doug and Mike Starn More about the authors Art/Photography Hardcover, 12.25 x 12.25 inches, 120 pages, including two multipage gatefolds, 84 four-color photographs ISBN 1-57687-189-4 all prices are subject to change