Look for the AWA jigsaw puzzle and book of postcards--and the new book: Accidentally Wes Anderson: Adventures.

** Nominated for a NAACP Image Award **

A groundbreaking collection of photographs and essays that shed new light on the history of Black America, from the Picturing Black History project.

Stunning . . . Provides fresh perspective on historical photographs and snapshots of Black life. --NEW YORK TIMES BOOK REVIEW

An astonishing work. --Henry Louis Gates, Jr.

Picturing Black History uncovers untold stories and rarely seen images of the Black experience, providing new context around culturally significant moments. This beautiful collectible volume makes a thoughtful gift and is full of rousing, vibrant essays paired with rarely seen photographs that expand our understanding of Black history.

The book is a collaborative effort between Getty Images, Origins: Current Events in Historical Perspective, and the History departments at The Ohio State and Miami Universities. It informs, educates, and inspires our current moment by exploring the past, blending the breadth and depth of Getty Images's archives with the renowned expertise of Origins contributors and The Ohio State's and Miami's History departments, including Daniela Edmeier, Damarius Johnson, Nicholas Breyfogle, and Steve Conn.

In collecting these new photographic essays, this book furthers an ongoing dialogue on the significance of Black history and Black life, sharing new perspectives on the current status of prejudice and discrimination bias with a wider audience. Picturing Black History uses the latest academic learning and scholarship to recontextualize and dispel prejudices, while uncovering, digitizing, and preserving new archival materials to amplify a more inclusive visual landscape.

Picturing Black History offers a trove of both famous and unseen photos with brief, poignant accompanying essays to show not only the centrality of Black people to American history but also how African Americans used the photographer's lens to tell their own stories. The editors, authors, and Getty images have created a beautiful book that stands on its own as a work of art, a veritable museum in print. --Henry Louis Gates, Jr., Alphonse Fletcher University Professor, Harvard University

What is the most romantic place to get engaged? A bookstore, of course. The perfect wedding venue? A bookstore! Book-loving couples from all over America agree, and Bookstore Romance celebrates not only a couple's love for each other, but also their love of books and bookstores.

Bookselling journalist Judith Rosen interviewed twenty-four couples who tell their stories about how they planned and celebrated their engagements and weddings in independent bookstores. And of course these perfect occasions could not have been orchestrated without the help of willing booksellers who slipped rings into books, made special displays of handmade volumes, and hid behind bookshelves to snap photos.

A portion of the proceeds from this book will be donated to the Book Industry Charitable Foundation.

For generations, Corky taught us how to see ourselves--as individuals and as a community.--Hua Hsu, Pulitzer Prize-winning author of Stay True

Known throughout his lifetime as the undisputed, unofficial Asian American photographer laureate, the late photojournalist Corky Lee documented Asian American and Pacific Islander communities for fifty years, breaking the stereotype of Asian Americans as docile, passive, and, above all, foreign to this country. Corky Lee's Asian America is a stunning retrospective of his life's work--a selection of the best photographs from his vast collection, from his start in New York's Chinatown in the 1970s to his coverage of diverse Asian American communities across the country until his untimely passing in 2021.

Corky Lee's Asian America traces Lee's decades-long quest for photographic justice, following Asian American social movements for recognition and rights alongside his artistic development as an activist social photographer. Iconic photographs feature protests against police brutality in New York in the 1970s, a Sikh man draped in an American flag after 9/11, and a reenactment of the completion of the transcontinental railroad of 1869 featuring descendants of Chinese railroad workers, and his last photos of community life and struggle during the coronavirus pandemic. Asian American writers, artists, activists, and friends of Lee reflect on his life and career and provide rich historical and cultural context to his photographs, including a foreword from writer Hua Hsu and contributions from artist Ai Weiwei, filmmaker Renée Tajima-Peña, writer Helen Zia, photographer Alan Chin, historian Gordon Chang, playwright David Henry Hwang, and more.

Featuring never-before-seen photographs alongside his best-known images, Corky Lee's Asian America represents Lee's mission to chronicle a history of inclusion, resistance, ethnic pride, and patriotism. This is a remarkable documentation of vital moments in Asian American history and a timely reminder that it's also a history that we continue to make.

More than 100 powerful images by noted photographer Russell Lee that document the working conditions and lives of coal mining communities in the postwar United States; publication coincides with an exhibition at the National Archives in Washington, DC.

In 1946 the Truman administration made a promise to striking coal miners: as part of a deal to resume work, the government would sponsor a nationwide survey of health and labor conditions in mining camps. One instrumental member of the survey team was photographer Russell Lee. Lee had made his name during the Depression, when, alongside Dorothea Lange and Walker Evans, he used his camera to document agrarian life for the Farm Security Administration (FSA). Now he trained his lens on miners and their families to show their difficult circumstances despite their essential contributions to the nation's first wave of postwar growth.

American Coal draws from the thousands of photographs that Lee made for the survey--also on view in the US National Archives and Records Administration's exhibition Power & Light--and includes his original, detailed captions as well as an essay by biographer Mary Jane Appel and historian Douglas Brinkley. They place his work in context and illuminate how Lee helped win improved conditions for his subjects through vivid images that captured an array of miners and their communities at work and at play, at church and in school, in moments of joy and struggle, ultimately revealing to their fellow Americans the humanity and resilience of these underrecognized workers.

• Foreword by Angela Davis: This stunning collection of historical photographs, complimented by contemporary conversations with women members of the Black Panther Party, reminds us that women were literally the heart of this new political approach to Black freedom.

Many of us have heard these three words: Black Panther Party. Some know the Party's history as a movement for the social, political, economic and spiritual upliftment of Black and indigenous people of color - but to this day, few know the story of the backbone of the Party: the women.

It's estimated that six out of ten Panther Party members were women. While these remarkable women of all ages and diverse backgrounds were regularly making headlines agitating, protesting, and organizing, off-stage these same women were building communities and enacting social justice, providing food, housing, education, healthcare, and more. Comrade Sisters is their story.

The book combines photos by Stephen Shames, who at the time was a 20-year-old college student at Berkeley. With the complete trust of the Black Panther Party, Shames took intimate, behind-the-scenes photographs that fully portrayed Party members' lives. This marks his third photo book about the Black Panthers and includes many never before published images.

Ericka Huggins, an early Party member and leader along with Bobby Seale and Huey Newton, has written a moving text, sharing what drew so many women to the Party and focusing on their monumental work on behalf of the most vulnerable citizens. Most importantly, the book includes contributions from over fifty former women members - some well-known, others not - who vividly recall their personal experiences from that time. Other texts include a foreword by Angela Davis and an afterword by Alicia Garza. All Power to the People.

We are very excited to share with you a preview of what's to come!

Dorothea Lange (1895-1965) aimed to make pictures that were, in her words, important and useful. Her decades-long investigation of how photography could articulate people's core values and sense of self helped to expand our current understanding of portraiture and the meaning of documentary practice.

Lange's sensitive portraits showing the common humanity of often marginalized people were pivotal to public understanding of vast social problems in the twentieth century. Compassion guided Lange's early portraits of Indigenous people in Arizona and New Mexico from the 1920s and 1930s, as well as her depictions of striking workers, migrant farmers, rural African Americans, Japanese Americans in internment camps, and the people she met while traveling in Europe, Asia, and Latin America.

Drawing on new research, the authors look at Lange's roots in studio portraiture and demonstrate how her influential and widely seen photographs addressed issues of identity as well as social, economic, and racial inequalities--topics that remain as relevant for our times as they were for hers.

Published in association with the National Gallery of Art, Washington

Exhibition Schedule:

National Gallery of Art, Washington, DC
(November 5, 2023-March 31, 2024)

From its inception in 1913, through the Jazz Age and the Depression, to its reincarnation in the boom-boom Reagan years, to the image-saturated Information Age, Vanity Fair has presented the modern era as it has unfolded, using wit, imagination, peerless literary narrative, and bold, groundbreaking imagery from the greatest photographers, artists, and illustrators of the day.

Edited by Vanity Fair editor Graydon Carter, this sumptuous book takes a decade-by-decade look at the world as seen by the magazine, stopping to describe the incomparable editor Frank Crowninshield and the birth of the Jazz Age Vanity Fair, the magazine's controversial rebirth in 1983, and the history of the glamorous Vanity Fair Oscar Party.

A gorgeous coffee table book to enjoy, gift, and display.

The book is a stunning artifact that begets staring, less for the words and publishing industry than as an exercise in visual storytelling reflected through the prism of society and celebrity. The best photographers, the best designers, the best illustrators all came together over Vanity Fair's contents, and the book unfolds in page after page of stunningly rendered images, some iconic and some that never even ran. --New York Times Book Review

In One Hundred Horses this award-winning author has interwoven stage and screen plays to create a novel in dialog. A brief memoir and photograph album of inspiration introduce each of the six chapters. These family-friendly, realistic, dramatic cowboy romances include details about ranch, reservation, and border life; immigration, healthy food, horseshoeing, and a Shakespearean version of horse training. The author lived the life she writes about and provides authentic glimpses into traditional cowboy etiquette, universal rural values, and the rewards of hard work. Chapter tension tackles the pros and cons of patriarchy, feminism, pride, horse training, jealousy, trust, patience, respect, misrepresentation, reconnaissance, and injury. Characters include a chuckwagon cook, Mexican illegal, Hispanic school teacher, female horseshoer, casino boss, California farmer, Las Vegas rodeo stock contractor, Marine veterans, Native American ranchers, law officers, and cowgirls. Of course the cast also includes hundreds of horses who patiently and silently assist, challenge, and improve the humans in countless ways.

In 1955, having just resigned from his high-profile but stormy career with Life Magazine, W. Eugene Smith was commissioned to spend three weeks in Pittsburgh and produce one hundred photographs for noted journalist and author Stefan Lorant's book commemorating the city's bicentennial. Smith ended up staying a year, compiling twenty thousand images for what would be the most ambitious photographic essay of his life. But only a fragment of this work was ever seen, despite Smith's lifelong conviction that it was his greatest collection of photographs.

In 2001, Sam Stephenson published for the first time an assemblage of the core images from this project, selections that Smith asserted were the synthesis of the whole, presenting not only a portrayal of Pittsburgh but of postwar America. This new edition, updated with a foreword by the poet Ross Gay, offers a fresh vision of Smith's masterpiece.

In 1957, Eugene Smith walked away from his longtime job at Life and the home he shared with his wife and four children to move into a dilapidated, five-story loft building at 821 Sixth Avenue in New York City's wholesale flower district. The loft was the late-night haunt of musicians, including some of the biggest names in jazz--Charles Mingus, Zoot Sims, Bill Evans, and Thelonious Monk among them. Here, from 1957 to 1965, he made nearly 40,000 photographs and approximately 4,000 hours of recordings of musicians. Smith found solace in the chaotic, somnambulistic world of the loft and its artists, and he turned his documentary impulses away from work on his major Pittsburg photo essay and toward his new surroundings.

Smith's Jazz Loft Project has been legendary in the worlds of art, photography, and music for more than forty years, but until the publication of this book, no one had seen his extraordinary photographs or read any of the firsthand accounts of those who were there and lived to tell the tales.

This spectacular visual journey captures some of the most stunning photographs--portraits, animals, landscapes, seascapes, nature, etc.--from National Geographic's renowned image collection. Award-winning photographer Annie Griffiths culled the images to reflect the many variations on the universal theme of beauty. Now in mini-format, chapters are organized around the aesthetic concepts that create beauty in a photograph: Light, Composition, Moment (Gesture and Emotion), Motion, Palette, and Wonder.

Beyond the introduction and brief essays about each featured concept, the text is light. The photographs speak for themselves, enhanced by lyrical quotes from scholars and poets. In the chapter on Light, for example, we read these words of whimsical wisdom from songwriter Leonard Cohen: Ring the bells that still can ring. Forget your perfect offering. There is a crack in everything. That's how the lights get in. And then the images flow, of light entering scenes through windows, clouds, and spotlights, from above, alongside, and behind, casting radiance upon young ballerinas and weathered men, into groves of autumn trees and island-dotted seas, revealing everything it touches to be beautiful beyond expectation.

To illuminate the theme of Wonder, Griffiths chose a wish from Andre Bazin: If I had influence with the good fairy...I should ask that her gift to each child in the world be a sense of wonder so indestructible that it would last throughout life. This thought is juxtaposed with an exquisite vision in white, a frame filled with the snowy-pure dots and rays of a bird's fan tail. And on it goes, picture after tantalizing picture, alive with wondrous beauty.

When she created National Geographic Simply Beautiful Photographs, Annie Griffiths set two goals: to maximize visual delight, and to create a book unique in the world of publishing--one in which many of the photographs could be purchased as prints. She has succeeded on both counts. Many of these stunning images are available for order, and there can be no doubt as to the visual delight. You must open this book for yourself, and take in its radiant beauty.

A book of stunning black and white photographs, capturing the events, people, and landscape of Chicago's Washington Park during the summer of 1987.

Located in Chicago's South side and designed by famed landscape architect Frederick Law Olmsted, Washington Park takes its name from the first president of the United States. But in 1987, for at least one joyous summer, the community claimed it as their own--even renamed it Harold Washington Park--as depicted in this vibrant collection of work by Chicagoan and photographer, Rose Blouin. The resulting images represent a profile of Chicago's Black community in a place where they come together for recreation, festivals, sports, community events, parades, weddings, and other arts and cultural events.

These photographs brim with the delights of summer: a verdant natural world, food, fun, music, family gatherings, and a community inhabiting the vast expanse of the Chicago park.They embody the diversity, strength, and humanity of the people for whom Washington Park is a summertime gathering place. To Washington Park, With Love includes forewords by Eve L. Ewing and Adrienne Brown, contextualizing and celebrating the 140 black and white photographs from Blouin's indispensable body of work.

A personal chronicle of post-9/11 America, at war and at home. Through reportage and memoir, in photographs and words, Look at the U.S.A. documents the major fault lines that have defined this era, beginning with the war in Iraq and ending with the Taliban takeover of Afghanistan.

Fueled by ideology, insecurity, ambition, and a deep fascination with war, Peter van Agtmael began documenting America's war in Iraq in 2005. So began a photographic odyssey that would span more than two decades generating work that grew from a deep need to understand and peel back the layers of his troubled society.

Confronting the mythologizing of war and seductive nature of conflict on the American psyche, Look at the U.S.A. explores the disconnect between the intergenerational wars and the home front, juxtaposing American troops in combat with their grieving families at home and the recovery of the wounded. As the book's narrative progresses, the gaze begins to widen, to the imprints of nationalism, the election of Donald Trump, militarism, and race and class on American society.

Layered with van Agtmael's personal accounts, observations, and interviews with those he has encountered on his journey, Look at the U.S.A. is a damning, sometimes ironic critique that will make it one of the seminal photobooks on war.

Korda's photographs and breathtaking reminiscences capture some of the 20th-century's greatest moments with unprecedented intimacy as no other book ever could or will.

In the first weeks of 1959, Korda joined the staff of the newly created daily newspaper of Cuba, Revolución. From that moment on, Korda documented the heady early days of revolutionary Cuba. When Fidel Castro visited the United States in April 1959, Korda went with him. When Castro visited the Soviet Union in 1963 and 1964, Korda was there, documenting intimate moments with Soviet leader Nikita Kruschev's family and appearing to show the end of the breach that had followed their country's divergent policies during the Cuban Missile Crisis of October 1962. But probably Korda's greatest moment came on March 5, 1960, during a funeral ceremony for the victims of the sabotaged French freighter La Coubre, a ship carrying arms purchased by the Cuban military. Fidel knew the attack to be the work of America's CIA. And it altered relations between the two countries forever after.

Korda was less than a dozen steps from the platform where Fidel Castro was addressing the crowd of mourners. There were foreign observers present, including Jean-Paul Sartre and Simone de Beauvoir. Che stepped forward to look over the crowd. Korda shot him through his telephoto lens, even though he was near to him. The result would turn into nothing less than one of the most enduring images of our age, though the picture would not see light of day for another year. It was first published on April 15, 1961, just before the Bay of Pigs invasion, and would only become well known when Che's Italian publisher Gianfranco Feltrinelli printed thousands of posters of the image shortly after Che's death.