Robert Adams: Tree Line

• This volume commemorates Robert Adams receipt of the Hasselblad Foundation International Award in Photography for 2009. Described by the Swedish foundation as one of the most important and influential photographers of the last 40 years, Adams joins a very distinguished line of contemporary photographers who have won the award, such as Graciela Iturbide (2008) and Nan Goldin (2007). The Foundation singled out Adams ability to consolidate the mediums history: as photography has altered and fragmented, he has refined and reaffirmed its inherent language, adapting the legacies of nineteenth-century and modernist photography to his own very singular purpose. Precise and undramatic, Adams accumulative vision of theWest now stands as a formidable document, reflecting broader, global concerns about the environment,while consistently recognizing signs of human aspiration and elements of hope, across a particular changing landscape.

Sidney Goodman: Man in the Mirror

• Since the 1960s, Sidney Goodman has helped to maintain the vitality of American figurative art. Making the figure in the modern urban landscape his ongoing subject, Goodman collages images into compositions that are both clear and disquieting. Man in the Mirror documents the first major exhibition of Goodmans works on paper.

Jon Pylypchuk

• Canadian artist Jon Pylypchuk (born 1972) has a unique talent for marrying the abject and the sublime. In his work, desperation and exhilaration, ugliness and beauty, tragedy and comedy are joined in images and words that declare that that life is a messy affair and we are the ones making it so. Like many before him who playfully expose the darker side of existence, Pylypchuk delves into the world of childrens books and characters, where inanimate objects come to life or animals live the lives of people. Endowed with human attributes, the creatures populating his paintings, drawings and sculpture speak powerfully of the pathetic banality and stubborn optimism that define our path through life as a tragicomedy of epic proportion. Copublished with the Austellungskunsthalle zeitgenГ¶ssiche Kunst MГјnster on the occasion of a ten-year survey of Pylypchuks work, this book provides a comprehensive look at an artist who movingly summons the frailty of human existence.

Tom Munro

• One of todays foremost fashion and celebrity photographers, Tom Munro has been making defining images since the mid-1990s. Munro achieves his results by encouraging his subjects to reinterpret their personalities for his lens, reveling in seductive roleplay or darkly-lit melodrama. The subjects gathered here include some of the biggest names in pop culture today—Ashton Kutcher, Brooke Shields, Charlotte Gainsbourg, Christina Ricci, Courtney Love, Daniel Craig, Dustin Hoffman, Ewan McGregor, Isabella Rossellini, Jake Gyllenhaal, Jennifer Aniston, Johnny Depp, Jude Law, Julianne Moore, Justin Timberlake, Lauren Hutton, Leonardo DiCaprio, Linda Evangelista, Madonna, Marion Cotillard, Matt Dillon, Matthew McConaughey, Naomi Campbell, Patrick Dempsey, Rob Lowe, Scarlett Johansson, Stephanie Seymour and Tom Cruise, to name only a few. This volume—Munros first monograph—affirms his status as a portraitist of the first rank.English by birth, Tom Munro moved to New York in 1990, embarking on his own career as a photographer in 1997, and achieving overnight success with his early editorial shoots for British Vogue and Harpers Bazaar. Over the last ten years, Munro has contributed to some of the worlds most prestigious magazine publications including Vogue, Italian Vogue, LUomo Vogue, Russian Vogue, China Vogue and Details. Munros dedication to his craft has attracted some of the fashion and beauty industries most prestigious names, including Armani, Banana Republic, Burberry, Calvin Klein, Converse, Gap, Givenchy, Hugo Boss, Lacoste, LOreal, Moschino, as well as music icons such as BeyoncГ©, Justin Timberlake and Madonna. Most recently Munro directed Madonnas music video “Give it to Me,” the success of which led to him directing a second video, “Die Another Day,” and shooting the book for her Sticky and Sweet world tour.

Allora & Calzadilla

• Jennifer Allora (born 1974) and Guillermo Calzadilla (born 1971) bring various media to bear upon a range of territories for which they evolve their own concrete political correlations. This publication documents the video works “A Man Screaming Is Not a Dancing Bear” (2008), on post-Katrina New Orleans, and “How To Appear Invisible” (2009) on the collapse of the Palast der Republik in Berlin.

Karl Lagerfeld: Chanels Russian Connection

• Peripatetic Chanel head designer, book publisher, photographerand now, film directorKarl Lagerfeld founded MГ©tiers dArts in 2002 to showcase the talents of Chanels seven specialist ateliers (that provide the couture house with costume jewelry, embroidery and millinery). This volume focuses on Chanels 2008-2009 MГ©tiers dArts collection Paris-Moscow. If Paris-Moscow indulges Lagerfelds fascination for Russia through fashion, then Russian Connection is that fascination embodied in book form. Lagerfelds images evoke Imperial Russia, Constructivism, Catherine the Great, FabergГ©, Russian folklore and Coco Chanels own passion for Russia, via the great Ballets Russes, Byzantine jewelry and her affair with the Grand Duke Dmitri Pavlovich. Included here is a DVD featuring Lagerfelds directorial debut, Coco 1913/Chanel 1923, a silent black-and-white film depicting Chanels flirtation with Russian-Parisian Г©migrГ© society in the 1910s and 1920s.

The DГјsseldorf School of Photography

• The German photographic movement commonly known as the DГјsseldorf School of Photography has become synonymous with artistic excellence and innovation. It began in the mid-1970s at the Kunstakademie DГјsseldorf, under the instruction of the photographers Bernd and Hilla Becher, known for their comparative grids of mundane industrial buildings captured with an objective and clinical eye. This school has not only birthed some of todays most important and successful photographers, but has also had a fundamental and lasting influence on the history of the medium. The DГјsseldorf School of Photography presents over 160 images in a spectacular overview of the breadth of the DГјsseldorf School from the early 1970s to today. This impeccable survey is filled with superb reproductions of the best-known photographs by three generations of key DГјsseldorf artists: Bernd and Hilla Becher, Laurenz Berges, Elger Esser, Andreas Gursky, Candida HГ¶fer, Axel HГјtte, Simone Nieweg, Thomas Ruff, JГ¶rg Sasse, Thomas Struth and Petra Wunderlich. With a scholarly text, extensive artist bios and a plate section dedicated to each of these artists, The DГјsseldorf School of Photography offers the first comprehensive assessment of this important photographic movement—one that dominates the salesrooms and museums of our times.

Starburst: Color Photography in America 1970-1980

• It is hard to imagine today that the artistic value of color photography was once questioned and controversial, even as recently as the 1980s. William Egglestons watershed exhibition at The Museum of Modern Art, New York, in 1976, generated plenty of scorn and confusion, as spectators struggled to accept his seemingly ordinary-looking color images of Southern life as art. Early photographs by Stephen Shore, Helen Levitt, Joel Meyerowitz and others received similarly hostile or ambivalent reviews. Color photography also had opponents within photography, most notoriously in Henri Cartier-Bresson. But as color processes both diversified and grew more sophisticated, and further approaches to the medium developed, the floodgates were opened wide. Starburst examines the first great practitioners of artistic color photography in the United States: Eggleston, Shore, Levitt, Meyerowitz, plus Joel Sternfeld, William Christenberry, John Divola, Mitch Epstein, Jan Groover, Robert Heinecken, Barbara Kasten, Les Krims, Richard Misrach, John Pfahl, Leo Rubinfien, Neal Slavin, Eve Sonneman and many more. Grounded in reviews of sources from the 1970s, and with an abundance of images, this survey makes a thorough assessment of this paradigm shift in the history of art photography.

Mary Ellen Carroll: Causes, Place, Mistakes, Boredom, Lies, Resemblance, Pleasure, Nothing, Temporality, Affect, Inscription, Envy/Imitation, Utilitarianism, Disappearance, Literalness, Thingness

• Despite an oeuvre spanning more than 20 years and a disavowal of any signature style, Mary Ellen Carroll has throughout her career been investigating a single, fundamental question: What is a work of art? The resulting multifarious, provocative and often wry outpouring in architecture, writing, performance, photography, filmmaking, printmaking, sculpture and painting has been collected into this bookthe New York conceptual artist’s long-awaited first monograph. Carroll’s work interrogates the relationship between subjectivity, language and power; at its core is a dedication to political and social critique. The touchstones of her practice are the double, the imitation and the copy, and these motifs are applied to a range of endsfrom conjuring the unheimlich to probing the means of distribution and interpretation of the work of art. A Carroll piece may involve something as seemingly effortless as trademarking an idea by another artist or as complex and bold as walking out the door penniless with only her passport and the clothes on her back to spend six weeks in a foreign country. Carroll imbues all her work with a strong performative element; even a new opus, involving the rotation of a Houston tract home on its foundation, is conceived as a way of making architecture perform.

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