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A visual portrait commemorating Kamala Harris's historic role as Vice President of the United States and her hard-fought run for the highest office in the land--selected from the official White House photographers and beautifully curated in the spirit of Pete Souza's #1 New York Times bestseller, Obama: An Intimate Portrait. With an introduction by New York Times bestselling author Joy Reid.
Kamala Harris has helped lead the United States through monumental crisis and change, and few have had fuller access to the most important moments in her career than the Official White House Photographers. From her four years in office as Vice President to her exuberant campaign for the Oval Office, their photographs capture American history as it unfolds.
Featuring more than 200 photographs in rich full-color, Kamala Harris is the first book to gather the official photographs of Harris's historic career. They include pivotal moments like defending the Affordable Care Act and the crisis of the COVID-19 pandemic, and solemn moments of duty, like calling Tyre Nichols's mother in the wake of yet another murder at the hands of police. We see Harris alongside the American people, in expressions of solidarity with the queer community in her native California, and in a selfie with recent grads of Howard University. There are quieter moments, too, with her husband Doug Emhoff, and with her friends Presidents Joe Biden and Barack Obama. Harris's own words accompany these beautifully reproduced photographs. From the White House and Air Force Two to visits with the American people in towns and cities across the country, here is Kamala Harris behind the scenes.
Carefully curated by the editors of Mariner Books and reproduced to the highest standards, this visual celebration of Kamala Harris's groundbreaking political career is perfect for anyone living through this monumental moment in American history.
At the turn of the 20th century, the American photographer Edward Sheriff Curtis (1868-1952) started on his 30-year project to produce a monumental study of North American Indians. Using an approach that was both artistically and scientifically ambitious, he recorded, in words and pictures, the traces of the traditional Indian way of life that was already beginning to die out.
With tireless personal commitment Curtis visited 80 American Indian tribes from the Mexican border to the Bering Strait, gaining their confidence through his patience and sensitivity. His work was printed in 20 volumes between 1907 and 1930 as The North American Indian, but with only 272 copies, originals became extremely rare.
This book gathers Curtis's entire American Indian portfolio into one publication, offering renewed access to and appreciation of his extraordinary achievement, which is as much a precious historical document as a triumph of the photographic form.
Loving: A Photographic History of Men in Love, 1850-1950 portrays the history of romantic love between men in hundreds of moving and tender vernacular photographs taken between the years 1850 and 1950. This visual narrative of astonishing sensitivity brings to light an until-now-unpublished collection of hundreds of snapshots, portraits, and group photos taken in the most varied of contexts, both private and public.
Taken when male partnerships were often illegal, the photos here were found at flea markets, in shoe boxes, family archives, old suitcases, and later online and at auctions. The collection now includes photos from all over the world: Australia, Bulgaria, Canada, Croatia, France, Germany, Japan, Greece, Latvia, the United States, the United Kingdom, Russia, and Serbia. The subjects were identified as couples by that unmistakable look in the eyes of two people in love - impossible to manufacture or hide. They were also recognized by body language - evidence as subtle as one hand barely grazing another - and by inscriptions, often coded.
Included here are ambrotypes, daguerreotypes, glass negatives, tin types, cabinet cards, photo postcards, photo strips, photomatics, and snapshots - over 100 years of social history and the development of photography.
Loving will be produced to the highest standards in illustrated book publishing, The photographs - many fragile from age or handling - have been digitized using a technology derived from that used on surveillance satellites and available in only five places around the world. Paper and other materials are among the best available. And Loving will be manufactured at one of the world's elite printers. Loving, the book, will be up to the measure of its message in every way.
In these delight-filled pages, couples in love tell their own story for the first time at a time when joy and hope - indeed human connectivity - are crucial lifelines to our better selves. Universal in reach and overwhelming in impact, Loving speaks to our spirit and resilience, our capacity for bliss, and our longing for the shared truths of love.
First published by Aperture in 1988, At Twelve: Portraits of Young Women is a groundbreaking classic by one of photography's most renowned artists.
At Twelve is Sally Mann's illuminating, collective portrait of twelve-year-old girls, taken in the artist's native Rockbridge County, Virginia. The age of twelve brings tremendous excitement and social possibilities; it is a trying time as well, caught between childhood and adulthood, when the difference is not entirely understood. As Ann Beattie writes in her perceptive introduction maintained from the 1988 original publication, These girls still exist in an innocent world in which a pose is only a pose--what adults make of that pose may be the issue. The consequences of this misunderstanding can be real: destitution, abuse, unwanted pregnancy. Within this book of portraits, many of which are accompanied by writings of the artist, the young women in Mann's unflinching large-format photographs, however, are not victims. They return the viewer's gaze with a disturbing equanimity.
This reissue of At Twelve has been printed using new scans and separations from Mann's prints, which were taken with an 8-by-10-inch view camera, rendering them with a quality true to the original edition.
William Eggleston's Guide was the first one-man show of color photographs ever presented at The Museum of Modern Art, New York; it changed the world's perception of color photography forever, and its accompanying catalog is now considered one of the most important American photobooks ever published
William Eggleston's Guide was the first one-man show of color photographs ever presented at The Museum of Modern Art, New York, and the Museum's first publication of color photography. The reception was divided and passionate. The book and show unabashedly forced the art world to deal with color photography, a medium scarcely taken seriously at the time, and with the vernacular content of a body of photographs that could have been but definitely weren't some average American's Instamatic pictures from the family album. These photographs heralded a new mastery of the use of color as an integral element of photographic composition. Bound in a textured cover inset with a photograph of a tricycle and stamped with yearbook-style gold lettering, the Guide contained 48 images edited down from 375 shot between 1969 and 1971 and displayed a deceptively casual, actually super-refined look at the surrounding world. Here are people, landscapes and odd little moments in and around Eggleston's hometown of Memphis--an anonymous woman in a loudly patterned dress and cat's eye glasses sitting, left leg slightly raised, on an equally loud outdoor sofa; a coal-fired barbecue shooting up flames, framed by a shiny silver tricycle, the curves of a gleaming black car fender, and someone's torso; a tiny, gray-haired lady in a faded, flowered housecoat, standing expectant, and dwarfed in the huge dark doorway of a mint-green room whose only visible furniture is a shaded lamp on an end table. For this edition of William Eggleston's Guide, The Museum of Modern Art has made new color separations from the original 35 mm slides, producing a facsimile edition in which the color will be freshly responsive to the photographer's intentions.
Drawing on one of the oldest and largest photography collections in the world, Calling the Shots offers an unprecedented view of photographic history through a queer lens. It includes a broad range of global LGBTQIA+ representation from the mid-nineteenth century to now, presenting images from pioneering LGBTQIA+ photographers and subjects alongside work documenting activism and hard-won legal battles, over a century of performance, nightlife, and diverse queer communities, collectives, and subcultures.
Following an introductory essay by Zorian Clayton, images are presented in six thematic chapters: Icons, Staged, Body, Liberty, Making a Scene, and Beyond the Frame. Each chapter opens with a short introductory essay, followed by an extended plate section. Expanded captions highlight key images, and artist in focus inserts draw on the work of selected photographers to illuminate particularly rich moments in LGBTQIA+ history.
Bold proclamations of queer identity and community sit alongside personal explorations of self; documentation of struggle, joy, and everyday life is considered side-by-side with performances and photographic fictions that continue to challenge the bounds of gender and sexuality. This vital, accessible volume offers an exciting, expansive appraisal of photography's role in expressing, documenting, and celebrating queer life. It will be essential for all with an interest in the history of photography, but especially for those with an interest in LGBTQIA+ history.
In the 1950s and '60s, an underground network of transgender women, gender nonconforming people, and men who dressed as women found refuge at a modest house in the Catskills, New York. Known as Casa Susanna, the house provided a safe place to express their true selves and live for a few days as they had always dreamed--dressed as and living as women without fear of being incarcerated or institutionalized for their self-expression.
Casa Susanna opens up that now-lost world. The photographs--mostly discovered by chance in a New York flea market in 2004--chronicle the experiences of these women in states of relaxation, experimentation, connection, and joy. All of this was made possible by Susanna Valenti who--on her own journey toward womanhood--created Casa Susanna, a protected space where others could do the same. Supplementing the images, excerpts from the magazine Transvestia record a different kind of space where those who had been outcast by a rigidly binary society could connect.
The people who came to Casa Susanna found a space where they could explore and celebrate their own and each other's femininity, as they could not elsewhere. Their creations are also a reminder that there were, and still are, many ways to explore the boundaries of gender.
The fullness with which Kahlo lived her life is seen best here, and her love for rich experience is reflected back at the reader, full of personality and vitality
When Frida Kahlo (1907-1954) died in 1954, her husband Diego Rivera asked the poet Carlos Pellicer to turn her family home, the fabled Blue House, into a museum. Pellicer selected some paintings, drawings, photographs, books and ceramics, maintaining the space just as Kahlo and Rivera had arranged it to live and work in. The rest of the objects, clothing, documents, drawings and letters, as well as over 6,000 photographs collected by Kahlo over the course of her life, were put away in bathrooms that had been converted into storerooms. This incredible trove remained hidden for more than half a century, until, just a few years ago, these storerooms and wardrobes were opened up. Kahlo's photograph collection was a major revelation among these finds, a testimony to the tastes and interests of the famous couple, not only through the images themselves but also through the telling annotations inscribed upon them. Frida Kahlo: Her Photos allows us to speculate about Kahlo's and Rivera's likes and dislikes, and to document their family origins; it supplies a thrilling and hugely significant addition to our knowledge of Kahlo's life and work.
THE INSTANT NEW YORK TIMES BESTSELLER.
From Kahran and Regis Bethencourt, the dynamite husband and wife duo behind CreativeSoul Photography, comes GLORY, a photography book that shatters the conventional standards of beauty for Black children. Featuring a foreword by Amanda Seales With stunning images of natural hair and gorgeous, inventive visual storytelling, GLORY puts Black beauty front and center with more than 100 breathtaking photographs and a collection of powerful essays about the children. At its heart, it is a recognition and celebration of the versatility and innate beauty of black hair, and black beauty. The glorious coffee-table book pays homage to the story of our royal past, celebrates the glory of the here and now, and even dares to forecast the future. It brings to life past, present, and future visions of black culture and showcases the power and beauty of recognizing and celebrating oneself. Beauty as an expression of who you are is power. When we define our own standards of beauty, we take back that power. GLORY encourages children around the world to feel that power and harness it.
FLOSS comprises a collection of monographs showcasing retrospective photographs by Roger Erickson, highlighting Hip Hop and Rock'n Roll music from the 1990s.
These uniquely stylized images explore the aspirational, unrestrained and often extravagant nature of artists during an era when Hip Hop culture burst into international prominence. His wholly original vision captures the vitality of urban music, arts and culture in the '90s. Often delving into the psyche of these personages for his inspiration, crafting iconic conceptual portraits that have become synonymous with the recording artists. The celebrities include Snoop Dogg, Dr Dre, Eminem, Joan Jett, Neil Young, Ozzy Osbourne, Ice Cube, Lil'KIm, Chaka Khan, LL Cool J, Fat Joe, Da Brat, Ja Rule, Nelly, EVE, and many more.
