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In this new collection from Annie Leibovitz, one of the most influential photographers of our time, iconic portraits sit side by side never-before-published photographs. Afterword by Annie Leibovitz.

Annie Leibovitz: Portraits 2005-2016 is the photographer's follow-up to her two landmark books, Annie Leibovitz: Photographs, 1970-1990 and A Photographer's Life, 1990-2005. In this new collection, Leibovitz has captured the most influential and compelling figures of the last decade in the style that has made her one of the most beloved talents of our time. Each of the photographs documents contemporary culture with an artist's eye, wit, and an uncanny ability to personalize even the most recognizable and distinguished figures.

About the Authors:

Annie Leibovitz is one of the most influential photographers of our time. Her career spans nearly five decades, starting in the 1970s when she was a widely acclaimed photographer at Rolling Stone. At Vanity Fair and Vogue and in independent projects, Leibovitz expanded her repertoire as a portraitist with a distinctive style. Her many honors include being designated a Living Legend by the Library of Congress, and her work is exhibited at museums around the world.

Alexandra Fuller is a prize-winning writer, whose memoirs Don't Let's Go to the Dogs Tonight and Leaving Before the Rains Come have met with public and critical acclaim. Her articles and reviews have appeared in numerous publications, including The New Yorker, Granta, The New York Times, Guardian, and National Geographic.

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Посмотреть новое издание книги Annie Leibovitz: Portraits 2005-2016

In this new collection from Annie Leibovitz, one of the most influential photographers of our time, iconic portraits sit side by side never-before-published photographs. Afterword by Annie Leibovitz.

Annie Leibovitz: Portraits 2005-2016 is the photographer's follow-up to her two landmark books, Annie Leibovitz: Photographs, 1970-1990 and A Photographer's Life, 1990-2005. In this new collection, Leibovitz has captured the most influential and compelling figures of the last decade in the style that has made her one of the most beloved talents of our time. Each of the photographs documents contemporary culture with an artist's eye, wit, and an uncanny ability to personalize even the most recognizable and distinguished figures.

About the authors:

Annie Leibovitz is one of the most influential photographers of our time. Her career spans nearly five decades, starting in the 1970s when she was a widely acclaimed photographer at Rolling Stone. At Vanity Fair and Vogue and in independent projects, Leibovitz expanded her repertoire as a portraitist with a distinctive style. Her many honors include being designated a Living Legend by the Library of Congress, and her work is exhibited at museums around the world.

Alexandra Fuller is a prize-winning writer, whose memoirs Don't Let's Go to the Dogs Tonight and Leaving Before the Rains Come have met with public and critical acclaim. Her articles and reviews have appeared in numerous publications, including The New Yorker, Granta, The New York Times, Guardian, and National Geographic.

___________

Пролистать книгу Annie Leibovitz: Portraits 2005-2016

___________

Посмотреть новое издание книги Annie Leibovitz: Portraits 2005-2016

The second in a series of collectable books that rediscovers the ambitious photographic archives of AnOther Magazine, one of the world’s most influential fashion magazines.

Few if any modern magazines have a collection of celebrity portraits as powerful and intriguing as AnOther Magazine. Its famous covers, shot by the world’s leading fashion photographers, capture Hollywood’s most iconic women – Nicole Kidman, Jodie Foster, Gwyneth Paltrow to name a few – in ways they have never been seen before. But the original portraits here venture far beyond the world of film – Björk, Lucian Freud, Patti Smith, Marianne Faithful, Jude Law and Kate Moss are just a few of the cultural icons that have appeared in the magazine in its ten-year history

Art & Makeup is a stunning showcase of work created by award-winning makeup artist, Lan Nguyen-Grealis. The looks created specially for the book are inspired by the worlds of art, sculpture, cinema and performance art – references include Picasso, Warhol, Marie Antoinette, Cleopatra, Mad Men and The Great Gatsby.

The book contains MORE THAN 200 beautiful images and includes photography from Rankin. Makeup is an art form, and, like all art forms, it has a basis in technique.

To complement the inspirational showcase imagery of the main part of the book, the second part features step-by-step deconstructions of the techniques used to create some of the looks. There is also an insider's guide to the industry, featuring tips and quotes from professionals ranging from renowned makeup artists and fashion designers to photographers and celebrity stylists.

About the Author:

Lan’s daring style and breathtaking technical ability has led her to work with legendary names including David Bailey, Rankin and countless A-list celebrities. She is currently the youngest Golden Mask Award Winner 2013 for Makeup Art and National Professional Makeup Awards Winner 2011 for Best Studio Makeup and Overall Winner.

Backstage & Frontrow is an all-access pass to the heady world of fashion and glamour, via the eyes of Gauthier Gallet. For almost ten years, Gallet scanned behind-the-scenes and the front-rows at the ready-to-wear and couture shows in Paris, Milan, New York and Tokyo, as well as some of the most star-laden parties of the past decade. Uncontrived, personal images, his photos render the untouchably fabulous surprisingly human. They are documents of our times, a compilation of encounters, a continuous expression of his great talent.

Gallet’s uncalculated images reveal the strength of his subjects and capture, in a split-second, the “now,” the moment. His unique working relationship with models, designers and celebrities, their mutual trust, is reflected in his lasting images. Backstage & Frontrow is at once a tribute to his work and a testimony to a great talent.

Bettina is back. 35 years of daring, defiant photography

Since her first photographs in the late ’70s, Bettina Rheims has defied the predictable. From her series on Pigalle strippers (1980) to her cycle on the life of Jesus in I.N.R.I. (1998), from Chanel commercials to Gender Studies (2011), her work has shaken up traditional iconography and pushed restlessly at the breaking point between two great human preoccupations: beauty and imperfection.

This Rheims retrospective showcases more than 500 photographs from 35 years of daring, often defiant, photography. Personally selected and assembled by Rheims, the collection juxtaposes renowned series such as Chambre Close, Héroïnes, and Rose, c’est Paris with many previously unpublished archival images and entries from Rheims’s own “diaries,” detailing behind-the-scenes work and personal memories.

Spanning commercial work and artistic series, the retrospective impresses with each turn of the page, as much for the strength of each image as for the thrilling variety of Rheims’s subjects and aesthetics. With equal attention to anonymous subjects cast in the street as to global celebrities including Kate Moss, Madonna, Monica Bellucci, Claudia Schiffer, and Naomi Campbell, the book showcases Rheims’s particular interest in female fragility and strength, and of the magic encounter between model and artist which disrupts codes of so-called eroticism to build up a new image system for womanhood.

94 colour and duotone plates

Since th eearly 1980x, Bettina Rheims has been the most sought-after French photographer. From her very beginnings, the female body has been the central focus of her work. Her unusual and provocative portraits and nude images each reveal a hidden part of the subject. She regularly caused stirs with projects such as Chambre close (1992), the story of a Paris voyeur watching women in hotels; KIM, a docuemntary ona transsexual;  I.N. R.I (1999), a sequence on the life of Chris, Shanghai (2004), featuring women in the midst of a powerful cultural, economic and spiritual evolution, and, most recently, Heroines (2006). This volume is a Best of. . . survey of Bettina Rheims' photographic oeuvre of 30 years.

Bettina Rheims, born in Paris in 1952, started her career in 1978 with a series on female acrobats and strippers. She has worked for major fashion magazines. The 1994 recpient of the Grand prix de la photographie, she took the official portrait of newly-elected French president Jacques Chirac in 1995 and was appointed Chevalier de la Legion d'Honneur in 2002. She lives in Paris.

Bettina Rheims, born in Paris in 1952, is one of the most sought after photographers in France. Both famous and unknown women have posed for her unusual portraits and nude photographs, which particularly contributed to her fame: film stars, artists, models, friends, acrobats and nude dancers at fairs. Over one hundred photographs exhibit Bettina Rheims’ individuality, intuition, confident approach and feeling for the facets of female charisma and erotic photography.

Будучи фигурой экстравагантной и не лишенной стремления эпатировать, Реймс для критиков и искусствоведов — более чем желанный фотограф. Высказывания о ней могут быть чрезвычайно негативными. После демонстрации серии «INRI» (трактование библейских сюжетов) в 1997 году ее обвиняли во всех смертных грехах, наделяли самыми резкими эпитетами, уличали и в отсутствии меры, и в богохульстве.

Famous for her unusual portraits of women and female nudes, French photographer Bettina Rheims focus is the visualization of female eroticism. She will be celebrated in a major travelling retrospective starting in Helsinki in February 2004. This accompanying book provides a representative overview of her work created between 1979 and 2002.

Since the early 80s, Bettina Rheims has been one of the most sought-after contemporary photographers. She came to fame with unusual portraits of women and female nudes. Both celebrities and unknowns posed for her in stagings of glamour and fame, of fashion, beauty, sex, and seduction. He subject is the visualization of female eroticism in its sensual, emotional and disquieting varieties, her trademark is a sensitive and delicate, yet provocative approach to the subject. In 2004, the Helsinki City Art Museum organizes the first major retrospective of Bettina Rheims' work, presenting important series, such as "Female Trouble," "Modern Lovers," "The Spies," "INRI," and "Why did you forsake me?" The exhibition will subsequently travel to Oslo, Aarhus, Vienna, Dusseldorf, and Berlin. The publication accompanying the exhibition provides a representative overview of her works between 1979 and 2002.

An expansive collection that introduces the short-lived and ruthlessly creative phenomenon that was Blacklips.

From June 1992 to March 1995, in the midst of the AIDS crisis in NYC, an extraordinary theatrical collective emerged from the queer underground. Blacklips Performance Cult, initiated by ANOHNI and joined by a cabal of fellow artists, drag queens, punks, nightlife veterans and students, performed a new play every Monday night at 1:00 a.m. at the Pyramid Club on 101 Avenue A. Blacklips never courted mainstream attention. However, the group left a sustaining impression within New York's late night subculture by melding hysterical drag, surreal horror, and disconcerting tenderness.

In Blacklips: Her Life and Her Many, Many Deaths, ANOHNI and coeditor Marti Wilkerson lay bare the collective's archives in photographs, scripts, and the assembled ephemera from more than one hundred and twenty original "plays." Featuring images from newly digitized film and video recordings, texts from participants and audience members, and an introduction by Lia Gangitano, this expansive collection introduces to the twenty-first century the short-lived and ruthlessly creative phenomenon that was Blacklips.

About the Author:

ANOHNI is a visual artist, musician, and playwright who spent her twenties performing music and staging plays in late-night clubs and experimental theatres in New York City. She formed her music group Antony and the Johnsons - named in memory of trans activist Marsha P. Johnson - in 1998. After releasing the group’s self-titled first record in 2000 and touring around the world with Lou Reed as a backup singer, her second album, I Am a Bird Now (2005), was awarded the Mercury Prize in the UK. ANOHNI has since released The Crying Light (2008), Swanlights (2009), the live album Cut the World (2012), and HOPELESSNESS (2016), a collaboration with Hudson Mohawke and Daniel Lopatin. She curated the 2012 Meltdown Festival at the Southbank in London, and has performed her music with symphonies in venues including the Royal Opera House in London, Teatro Royale in Madrid, Sydney Opera House, the Olympia in Paris and Radio City Music Hall. ANOHNI’s visual installations, performances, and plays have been presented by institutions including Kunsthal Nikolaj in Copenhagen, Bielefeld Kunsthalle in Germany, MoMA, the Whitney Museum, The Kitchen NYC, Aarhus 2017 Capital of Culture, and the Barbican. She scored Valentino’s Spring collection presentation “Anatomy of Couture” in Milan in February

107 color photographs, 216 b/w photographs, 21 toned photographs

At first I thought strictly about a book of photographs on fashion. As I worked on it, I thought more and more about something my friend the late, great fashion designer Gianni Versace once said, in giving me advice before an assignment, "Call me des mode, but give me beauty."

And with these inspired words I wanted to make a record of how I journeyed out into the world and recorded what most people call fashion. These photographs were not just about the shape of clothes, but also how one sees fashion in nature, architecture, and in the human spirit.

When I began photographing, I was at Life Magazine borrowing some equipment. I ran into a bunch of other photographers in the camera department. One photographer asked, "what kind of photos are you doing for the magazine?" I replied, "I am going to do some pictures of girls in bathing suits." They all burst out laughing at me, and said, "that doesn't sound too serious." That's when I knew that as a photographer I didn't want people to stop laughing with me.

That laughter can be found in a picture of a girl wearing a dress by Yohji Yamamoto that's so big she can't even walk in it or a boy wearing twigs as a tunic at Karl Lagerfeld's chateau in Brittany or the Duchess of Devonshire feeding her pet chickens in a Jean Patou couture evening dress from the 1940s. In this crazy world of ours, most things don't make sense any more, but the wonderful thing about taking pictures of people wearing or not wearing clothes is that maybe you won't solve all the world's problems but you'll at least be giving back a seed of imagination to our garden of lost innocence. And it's fashion that can create a big fantasy life for all those who enter.

Our Fair Lady. The many facets of Hepburn's beauty, on and off set.

In his distinguished career as a Hollywood photographer, Bob Willoughby captured Marilyn Monroe, Elizabeth Taylor and Jane Fonda, but remains unequivocal about his favorite subject: Audrey Kathleen Ruston, later Edda van Heemstra Hepburn-Ruston, best known as Audrey Hepburn. Willoughby was called in to shoot the new starlet one morning shortly after she arrived in Hollywood in 1953. It was a humdrum commission for the portraitist often credited with having perfected the photojournalistic movie still, but when he met the Belgian-born beauty, Willoughby was enraptured. “She took my hand like… well a princess, and dazzled me with that smile that God designed to melt mortal men’s hearts,” he recalled.

As Hepburn’s career soared following her Oscar-winning US debut in Roman Holiday, Willoughby became a trusted friend, framing her working and home life. His historic, perfectionist, tender photographs seek out the many facets of Hepburn’s beauty and elegance, as she progresses from her debut to her career-high of My Fair Lady in 1963. Willoughby’s studies, showing her on set, preparing for a scene, interacting with actors and directors, and returning to her private life, comprise one of photography’s great platonic love affairs and an unrivalled record of one of the 20th century’s touchstone beauties.

The photographer:

Bob Willoughby (1927-2009) took his first photo at the age of twelve. By 1954 his exhibitions of photographs of jazz musicians and dancers led to a contract with Globe Photos, followed by work at Harper's Bazaar. After shooting Judy Garland during the filming of A Star is Born he became the first "unit photographer"— hired specifically by movie studios to take on-set promotional "stills". The author of numerous books on photography, he lived his last years in Vence, France.

Legendary actress Brigitte Bardot led fashion revolutions throughout her career; this retrospective includes BB’s comments on her iconic style in a rare, intimate interview.

Brigitte Bardot is a style icon whose legacy has undeniably shaped the face of fashion as we know it. Discovered by a magazine editor at only 14 years old, she found fame and admiration on the big screen in the 1950s, and then became the fiery sex symbol of the groovy and liberated 1960s. Over the course of her career, all of the great French designers ― including Christian Dior, Pierre Balmain, and Pierre Cardin ― outfitted Bardot on and off screen. In photographs that capture her attending prestigious receptions or on glamorous visits to the United States, in fashion shoots and on film sets, this volume illustrates all the key looks that BB wore and brought to the international spotlight as she invented and edited her own highly imitated style. In an extensive ― and extremely rare ― interview, accompanied by her personal comments on the photos, Bardot explains the context of the often vanguard fashions she wore, making headlines wherever she went.

Evoking French style and the glamor of St. Tropez, her legacy endures ― from ballerina slippers with sweeping skirts to figure-hugging knitwear, gingham fabrics and gypsy dresses, kohl eyeliner and tousled hair.

On one side, Dita Von Teese shares the beauty of the burlesque world, with bubblegum dreams and show tunes to strip to. Flip over for fantasies in fetish with dramatic costumes and the allure of submission.

Burlesque and the Art of the Teese

"I advocate glamour. Every day. Every minute."

I'm a good dancer and a nice girl, but I'm a great showgirl. I sell, in a word, magic. Burlesque is a world of illusion and dreams and of course, the striptease. Whether I am bathing in my martini glass, riding my sparkling carousel horse, or emerging from my giant gold powder compact, I live out my most glamorous fantasies by bringing nostalgic imagery to life.

Let me show you my world of gorgeous pin-ups, tantalizing stripteases, and femmes fatales. I'll give you a glimpse into my life, but a lady never reveals all.

Fetish and the Art of the Teese

You may have come for the fetish. Or you may just be sneaking a peek at this mysterious and peculiar other side. No matter what you've come for, there is something for you to indulge in.

My world of fetish may not be the one that you would expect. As a burlesque performer, I entice my audience, bringing their minds closer and closer to sex and then -- as good temptress must -- snatching it away. As a fetish star, I apply the same techniques. . . .

An opera-length kid leather glove, a strict wasp waist, an impossibly high patent leather heel, a severely painted red lip. . . . Come with me into my world of decadent fetishism.