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Diana Scheunemann's work actually requires few words. Even the most cursory of glances through this incredible collection gives the viewer the most intimate insight into her electric, scary, sexy, witty, hilarious otherworldly existence. Whether catching a glimpse of a solitary midnight swim, a moment of intense climax, or a naked masked ghoul on the back seat of the family saloon Diana's subjects are the anti-heros of our bland cofee table culture. Every page crackles with a raw energy and a visual dexterity, leads you helplessy onwards through this fantastical exhibition of sex, nightmares, life, death, rock'n'roll and everything along the way. Most importantly there is always a punchline and always a reason to celebrate being alive.

Her disturbing pictures of emotionally and physically deformed people, freaks, and outsiders of human society opened the eye to a reality long denied and made Diane Arbus a classic of American photography.

Her monograph with 81 selected plates and original texts, posthumously published in 1972, has become a classic in itself.

When Diane Arbus died in 1971 at the age of 48, she was already a significant influence — even a legend — among serious photographers, although only a small number of her pictures were widely known.

The publication of Diane Arbus: An Aperture Monograph in 1972, and the posthumous retrospective at the Museum of Modern Art, offered the public its first encounter with Arbus’s achievements. The response was unprecedented.

The monograph of eighty photographs was edited and designed by the painter Marvin Israel, Diane Arbus’s friend and colleague, and by her daughter Doon Arbus. Their goal was to remain faithful to the standards by which Arbus judged her own work, and to how she hoped it would be seen. Universally acknowledged as a timeless masterpiece, and translated into five languages, Diane Arbus: An Aperture Monograph remains the foundation of her international reputation.

Nearly fifty years has not diminished the impact of these pictures; they penetrate the psyche with the force of a personal encounter, and transform the way we see the world.

This is the first edition in which the image separations were created digitally; the files have been specially prepared by Robert J. Hennessey using prints by Neil Selkirk.

About the Author:

Diane Arbus (1923–1971) revolutionized the terms of the art she practiced. Five volumes of her work have been published posthumously and have remained continuously in print: Diane Arbus: An Aperture Monograph (1972), Diane Arbus: Magazine Work (1984), Untitled: Diane Arbus (1995), Diane Arbus: A Chronology (2011), and Diane Arbus Revelations (Random House, 2003).

Другие альбомы Diane Arbus

Diane Arbus Revelations

Diane Arbus: An Aperture Monograph (Paperback)

Diane Arbus: Magazine Work

When Diane Arbus died in 1971 at the age of 48, she was already a significant influence — even a legend — among serious photographers, although only a small number of her pictures were widely known.

The publication of Diane Arbus: An Aperture Monograph in 1972, and the posthumous retrospective at the Museum of Modern Art, offered the public its first encounter with Arbus’s achievements. The response was unprecedented.

The monograph of eighty photographs was edited and designed by the painter Marvin Israel, Diane Arbus’s friend and colleague, and by her daughter Doon Arbus. Their goal was to remain faithful to the standards by which Arbus judged her own work, and to how she hoped it would be seen. Universally acknowledged as a timeless masterpiece, and translated into five languages, Diane Arbus: An Aperture Monograph remains the foundation of her international reputation.

Nearly fifty years has not diminished the impact of these pictures; they penetrate the psyche with the force of a personal encounter, and transform the way we see the world.

This is the first edition in which the image separations were created digitally; the files have been specially prepared by Robert J. Hennessey using prints by Neil Selkirk.

About the Author:

Diane Arbus (1923–1971) revolutionized the terms of the art she practiced. Five volumes of her work have been published posthumously and have remained continuously in print: Diane Arbus: An Aperture Monograph (1972), Diane Arbus: Magazine Work (1984), Untitled: Diane Arbus (1995), Diane Arbus: A Chronology (2011), and Diane Arbus Revelations (Random House, 2003).

Другие альбомы Diane Arbus

Diane Arbus Revelations

Diane Arbus: Magazine Work

Diane Arbus: An Aperture Monograph (Hardcover)

Photography's most original artist presents the celebrities of her time in a remarkable collection of portraits. This work reveals the growth of an artist who saw no artificial boundary between art and the paying job and who succeeded in putting her indelible stamp on the visual imagination.

Другие альбомы Diane Arbus

Diane Arbus: An Aperture Monograph (Hardcover)

Diane Arbus: An Aperture Monograph (Paperback)

Diane Arbus Revelations

This encyclopedia of LIFE photographers tells the history of the 20th century in pictures that have written history themselves: politics and culture, nature and science, the rich and the poor portrayed in the 36-year life of LIFE magazine.

97 plates

Taken in Florida a few weeks before JFK's presidential inauguration, Avedon shows Kennedy with Jackie, 4-year-old Caroline, and new-born John Jr. Whereas his celebrity portraits are usually emotionally charged and confrontational, these pictures, most of them unpublished, reflect a calm simplicity right before the hectic presidential years

200 color illustrations, 60 color and b/w photographs 

Die Avantgarde-Architektur der 20er Jahre wird heute fast ausschließlich mit dem Bauhaus oder Le Corbusier assoziiert. »Neues Bauen«, für konservative Zeitgenossen seinerzeit ein Schimpfwort, in seiner deutschen Sprachfassung jedoch bald international ein Begriff, beschränkte sich aber keineswegs nur auf die westlichen Metropolen. Nach der Oktoberrevolution von 1917 begann sich das junge sowjetische Rußland zu formieren und auch nach außen als radikal neu darzustellen. Neu waren schließlich auch die Bauaufgaben: Gewerkschaftshäuser und Arbeiterclubs, Kraftwerke und Fabriken, kollektive Wohnanlagen und Sanatorien für die Werktätigen, staatliche Großkaufhäuser, Partei- und Verwaltungsbauten, ein Mausoleum für Lenin… Nicht nur in Moskau und St. Petersburg, auch im fernen Baku (Aserbaidschan), in Sochi am Schwarzen Meer oder im ukrainischen Charkow hielt die Moderne Einzug mit Bauten aus Glas, Stahl und Beton. Utopie, Bauhaus-Ästhetik und russischer Konstruktivismus fanden sich hier in einem auch quantitativ einzigartigen Experiment, das damals weltweit Aufsehen erregte: Avantgarde pur. Wie in Deutschland endete dieses innovative Abenteuer Anfang der 30er Jahre, als die politische und akademische Reaktion die Führung in der Partei übernahm. Die Auflösung der UdSSR 1991 gab den letzten Zeugen dieses so kurzlebigen Aufbruchs in die Moderne schließlich den Rest. Bis auf wenige prominente Ausnahmen erst verunstaltet, dann vergessen und verwahrlost, wurde ein Viertel der noch existierenden Bauten in den letzten Jahren Opfer der Spekulation. Das Buch dokumentiert die Relikte dieser »verlorenen Avantgarde« in ebenso beeindruckenden wie ernüchternden Photographien, die der renommierte britische Architekturphotograph Richard Pare auf mehreren Reisen durch die ehemaligen Sowjetrepubliken in den 90er Jahren aufgenommen hat.

Посмотреть избранные развороты книги  Die verlorene Avantgarde: Russische Revolutionsarchitektur 1922-1932  в pdf-формате на сайте издательства.

Русскоязычное издание книги Потерянный авангард. Русская модернистская архитектура 1922-1932

The ancient Greeks thought the gods dwelled on Mount Olympus. We can confidently report that they’re among us. Elaborating on the photographs taken for the popular Dieux du Stade calendar, these tantalizing images feature players of the famous international rugby club, the Stade Français Paris and athletes from other disciplines such as football, handball, judo, and swimming, in all their unclothed glory. This second volume of the successful Dieux du Stade book presents photographs by Fred Goudon, whose work has focussed on the male form for over 20 years. His stunning composition and skillful use of light create an intimate atmosphere and transform the athletes into Greek gods.

About the Author:

Fred Goudon was born in Cannes, France. He studied journalism and started working as a press photographer. In the late 1980s, he moved to Los Angeles and found his calling for fashion photography and his ability to highlight the beauty of masculinity. He works for model agencies and fashion labels and has published several books and calendars.

- This stunning volume celebrates the 15th anniversary of the famous Dieux du Stade calendar
- Photographer Fred Goudon is honoring the male body in all its athletic glory
- These sensual images will delight fans of artistic male nude photography

J. Stephen Hicks has several websites featuring his photography but www.digitaldesire.com is the flagship destination for his nude/glamour photography. “When we first started DDG, I had no idea what a big project it would become. I now consider publishing this site to be the most exciting and satisfying challenge of my career”. Having simply licensed his photographs to publishers for years, being his own publisher has special meaning. “Digital Desire is truly my baby and it’s great having this opportunity to put my vision to life on the site. I have an incredible team—smart, creative, dedicated employees who help me produce content and publish with a very special touch. We really are trying to be a completely high-end, unique adult destination—likenothing else out there.”

The name J. Stephen Hicks is synonymous with quality and excellence in the field of photography. At the late age of nineteen, Hicks purchased his first camera. Immediately, as he likes to explain, „I found my first true love.“

The photographs of Cristian Crisbasan present nudes of an apparently frivolous woman, an exponent of a daring, yet refined eroticism, somehow lacsivious, on the borderline of licentiousness. His nudes are reminiscent of classical 19th century nudes, photogaphs taken in order to present the woman from an anatomical point of view - inspired by real life, with the disproportions and defects inherent to an authentic and alive rather than a staged model. The woman selected by Crisbasan is not a prototype of the ideal woman. She is not a model. She is not looking for perfection, and least of all for artificiality. As a matter of fact, Crisbasan confesses that he does not like to photograph fashion models, exactly because he sees them as artificial, fake and superficial beings altered by their professions. Crisbasan's images are interesting, beautiful, and stir emotions because in an era when the nude has become a topic of deconstruction, of artificiality, of hybridization, they manage to stll be the expression of "natural" beauty. Cristian Crisbasan is an artist on a quest of beauty. For him, the most honest and beautiful portrait of a woman is the nude - the whole body with all the signs of feminity. As he states, "I think, woman is the most fascinating and rich entity on Earth".

Найбільш незмивні зображення одягу та портретів Dior від Річарда Аведона з 1940-х до 70-х років, включаючи багато фотографій, які раніше не публікувалися. Культова робота Річарда Аведона в галузі моди не тільки змінила модну фотографію, але й змінила погляди світу на моду. Однією з його найплідніших спільних робіт була співпраця з будинком Dior, яка починається з 1947 року, відразу після того, як дім високої моди штурмом захопив паризький світ моди.

Цей розкішний том включає 150 культових і багато ніколи раніше не публікованих фотографій Аведона, на яких зображені гламурні моделі та знаменитості, зокрема Марлен Дітріх, Сьюзі Паркер, Санні Хартнетт, Довіма, Кармен Делл'Орефіс, Доріан Лей, Капусін, Лорен Хаттон, Анжеліка Х'юстон і Барбра Стрейзанд. Зображення Аведона документують моду Dior, а також історію моди з 1940-х до 70-х років. З поглядом на моменти витонченості, драматизму та гумору, а також майстерність світла та контрасту, Avedon вловлює суть елегантного дизайну Dior, стиль та індивідуальність культових жінок, які їх носили, і неймовірні моменти у фотографії, які заінтригують любителів фотографії, мистецтва та моди.

Про автора:

Жаклін де Рібес - французька світська левиця і модельєр. Крім того, що вона була музою багатьох дизайнерів, зокрема Валентино та Іва Сен-Лорана, вона була членом Міжнародного списку найкраще одягнених з 1962 року. Джастін Пікарді є досвідченим автором і головним редактором британського Harper's Bazaar. Олів'є Сайяр є директором Пале Галлієра, Музею моди міста Париж. Він відомий історик моди та письменник.

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Приголомшлива візуальна данина відомим знімкам італійського фотографа Паоло Роверсі для дому Dior.

Модний дім, улюблений своїми дизайнами, що відображають сучасну паризьку елегантність. Фотограф, відомий своїми неймовірно ніжними портретами. Цей вишуканий том «Зображення Dior: Паоло Роверсі» – це ода їхньому легендарному взаєморозумінню.

Представляючи фотографії з британського Vogue, Vogue Paris та W, цей том висвітлює творіння художніх директорів Dior Джанфранко Ферре, Джона Гальяно, Рафа Сімонса та Марії Грації К'юрі. Він також містить ексклюзивні фотографії з фотосесії, проведеної під керівництвом Грейс Коддінгтон, з роботами самого Крістіана Діора. Цей вишуканий том, що є одночасно і монографією про моду, і фотопортфоліо, захопить любителів фотографії, стилю та мистецтва.

Про авторів:

Паоло Роверсі – відомий фотограф у сфері моди, який співпрацював з провідними брендами та виданнями над рекламою та редакційними статтями. Він живе в Парижі. Емануеле Кочча — італійський філософ, який спеціалізується на аналізі статусу та сили образів, особливо в моді.