From celebrated stylist Maripol this ultimate 'who's who' of the early 80s art, music and fashion scenes in downtown New York captures highly stylish, utterly inspiring and ultra vivid polaroid. As an image maker and stylist for Madonna during her 'Like a Virgin' days, Maripol relentlessly documented the movers and shakers of the early 80s through the lens of her instant Polaroid SX-70. This collection is for those with long memories and vast vinyl collections and also for the people who weren't there to see it firsthand.
More than two hundred spectacular photographs, sensual, luminous, frenzied, true, from 1955 to the present, that catch and define the energy, intoxication, rebellion, and magic of rock and roll; the first book to explore the photographs and the photographers who captured rock’s message of freedom and personal reinvention—and to examine the effect of their pictures on the musicians, the fans, and the culture itself. The only music photographers whose names are well known are those who themselves have become celebrities. But many of the images that have shaped our consciousness and desire were made by photographers whose names are unfamiliar. Here are Elvis in 1956—not yet mythic but beautiful, tender, vulnerable, sexy, photographed by Alfred Wertheimer . . . Bob Dylan and his girlfriend on a snowy Greenwich Village street, by Don Hunstein . . . John Lennon in a sleeveless New York City T-shirt, by Bob Gruen . . . Jimi Hendrix, by Gered Mankowitz, a photograph that became a poster and was hung on the walls of millions of bedrooms and college dorms . . . For the first time, the work of these talented men and women is brought into the pantheon; we see the musicians they photographed and how the images gave rock and roll its visual identity. To bring together these images, Gail Buckland, acclaimed photographic editor, curator, and scholar, looked through the archives of one hundred photographers, selecting pictures not on the basis of the usual suspects, but on the power of the images themselves, often picking an image a photographer didn’t even remember he or she had taken. Buckland writes about the photographers, their influences, their relationships with their subjects, how they took the images, how they saw what they saw and captured what they captured: the spirit and essence of rock. A revelation of an art form whose iconic images changed the world as we knew it.
Makeup Your Mind deftly combines cult favorite cosmetics designer François Nars' two remarkable talents-makeup and photography, both of which he uses in this collection to stunning effect-to show women how to enhance their natural beauty. Designed by renowned graphic artist Fabien Baron to be the ultimate makeup how-to book, Makeup Your Mind is a comprehensive compilation of Before and After photographs, each containing instructional acetate overlays, covering almost every face type, complexion, eye color, and facial feature found on the runway today. Makeup Your Mind is also a revolutionary instruction manual on makeup from one of the most respected and imitated cosmetics artists in fashion today: a makeup book designed and constructed as a durable paperback companion suitable for the vanity or for the car, sliding in and out of its attractive hardcover binder as needed, containing precise instructional guides on clear plastic overlays indicating exactly what goes where, allowing you to see the finished effect for perfect results. Summarizing each chapter on "Eyes", "Lips", "Neutrals", "Shimmer", "Monochrome and Suntan", "Pastels", Color, and "Skincare" are François Nars' trademarked guidelines on the technique of applying makeup for that dazzling NARS look. Showcasing the famous NARS look are today's top models, including Karen Elson, Maggie Rizer, Naomi Campbell, Devon Aoki, Trish Goff, Erin O'Connor, Sophie Dahl, May Anderson, Ling, Aurelie, Missy Rayder, Elsa, Caroline Ribero, Eva Herzagova, and many others. Makeup Your Mind features these women and more in sixty-three stunning Before and After pictures. All of the models were shot sans makeup for the Before pictures, displaying their bare-naked faces replete with imperfections and idiosyncrasies. Their transformations in the After pictures span from natural and elegant to fun and outrageous. In superb four-color photographs and brilliant acetate instructional guides, Makeup Your Mind demonstrates how makeup can minimize flaws and maximize beauty potential for every woman.
Humans have always bred, farmed, raced, and lived alongside pigeons. Some of us shoo them away and others care for them as the city’s most famous wildlife. The New York Pigeon, now in its second edition with spectacular new images, is a one-of-a-kind, intimate study of this worldwide neighbor. The New York Pigeon reveals the unexpected beauty of the omnipresent pigeon as if Vogue devoted its pages to birds, not fashion models. In spite of pigeons’ ubiquity in New York and other cities, we never really see them closely and know very little about their function in the urban ecosystem. This book brings to light the intriguing history, behavior, and splendor of a bird so often overlooked. While The New York Pigeon is primarily a photography book, it also tells the five-thousand-year story of the feral pigeon. Why are pigeons so successful in cities and not in the countryside? Why do they have such diverse plumage? How have pigeons adapted to survive on almost any food? Why are pigeons able to fly up to 500 miles per day but rarely do? How did Harvard psychologist B.F. Skinner teach pigeons to do complicated tasks, from tracking missile targets to recognizing individual human faces? Why can pigeons see in the ultraviolet light spectrum, and why is half of their brain used for visual perception? The second edition of The New York Pigeon, with its fresh portraiture and new essay from Catherine Quayle of the Wild Bird Fund, presents dramatic, hyper-real studio portraits capturing the personalities, expressiveness, glorious feather iridescence, and deeply hued eyes of the New York pigeon.
Bande a parte is a collection of photographs taken by those who were the eyes in the darkness, the insiders among the outsiders of art. What distinguishes this group is that they are not professionals in the sense that taking pictures wasn't really a job, it was a compulsion, something they had to do. Billy Name was a major domo at the silver Warhol Factory, Gerard Malanga was a poet and Warhol's painting assistant, Danny Fields was a mover and shaker in the record business, responsible for the management of such talents as Iggy and The Stooges, The Doors and The Ramones. Even those who were photographers by trade were not the kind who waited for assignments, they were self-taught anthropologists who wanted to document their time, their place. And clearly, these pictures tell their stories better than words ever could.
Red-hot Hollywood director Brett Ratner (Rush Hour I and II, Red Dragon and the forthcoming Superman), lives in Ingrid Bergram's old Hillhaven Lodge, where he houses his old-fashioned b/w photo booth. Into this booth Ratner has enticed a cornucopia of white-hot celebrities, personalities and legends, all of whom voluntarily vogued, posed and made silly faces without the help of stylists and makeup artist. The result is a hilarious and revealing look at such people as Michael Jackson, Britney Spears, Liv Tyler, Colin Farrell, Mariah Carey, Edward Norton and Salmay Hayek and more.
Former member of the Vandal Squad - a New York police unit devised to protect the subway from hardcore crime and vandalism - Joseph Rivera recounts the days and nights spent in pursuit of the city's most notorious vandals. As the only book on graffiti told from the side of the law, it gives the reader new perspective on the fast-paced cat and mouse tales, presented alongside professional disregard within the department. Featuring unseen images and stories of graffiti's infamous Top 40, this is an unprecendented look at graffiti from the other side of the game.
Collection of never before seen photographs showing a very little known side of Mike Tyson at his prime and peaking the 1980's and 1990's, in and out of the ring, sometimes with epic legends. It all began with an art school photography assignment: Lori Grinker was shooting a project on young boxers under the guidance of the legendary trainer Cus D'Amato. Her main focus became a nine-year-old boxer Billy Hamm. While photographing him, Cus wandered over and asked why Lori was shooting that kid, when the bigger kid in the corner working a speed bag would one day be the heavyweight champion of the world! The kid was a then 13-year-old Mike Tyson. Lori's early boxing photographs of Mike Tyson are without peer--little exists from that era and all of Grinker's work is personal with uniquely privileged access in and out of the ring. Over the next decade Lori would photograph the coterie that surrounded Mike; Cus's funeral, going home to Brownsville, old friends, trips abroad, in hotel suites before and after fights, his hook-up with Robin Givens, their wedding, their divorce, and the training and fights in between until Tyson's first defeat--the Buster Douglas fight in 1991. This is a side of the Mike Tyson story rarely seen or shared.
Sasha Grey, rising adult film and pop-culture star, takes control in her new monograph "neu sex," moving out from in front of the camera to behind it, turning the lens on the wild world she inhabits. "When I first got into the adult industry, I decided to take my photography much more seriously. I started taking a camera with me to capture my experiences on set, so it was a moment in time, a memory for myself--not the video that would be seen by thousands of people. On days where I was physically unable to capture an image, Ian, my fiance, became my third arm. He understands my aesthetic, or lack thereof. Ian is a photographer, yet the work in this book is quite different from his usual style. When you are so close with someone, there is a shorthand and true understanding of what the other person is trying to accomplish. If there's something I am physically unable to photograph, I can say one word and Ian can assist me with my vision. Ian can capture intimate moments with me that nobody can fabricate, because of our relationship. The strong sense of familiarity eliminates all boundaries between the subject and the photographer. "Documenting myself has almost become a necessity. "There are so many photos of me, taken by other people, that aesthetically I have no control over. Documenting myself allows me to reflect on the day, on the feelings I am having at that second. When you work in the entertainment industry, there are always surprises; there certainly isn't one day that is similar to the last. Personally, it's important to embrace this and appreciate it every day. "Still images vividly capture emotion, a second in time that can be left open for interpretation by the viewer and the creator. I am inspired by the work of Cindy Sherman and Nan Goldin. Sherman's work continues to inspire me to develop certain characters. I figured if I am on set I might as well take advantage of my surroundings, and document my life in an exciting, untraditional manner. I look back at photos, and see how much I've grown, how my opinions have changed, and how they will continue to change." --Sasha Grey
Which is more important to New York City's economy, the gleaming corporate office--or the grungy rock club that launches the best new bands? If you said "office," think again. In The Warhol Economy, Elizabeth Currid argues that creative industries like fashion, art, and music drive the economy of New York as much as--if not more than--finance, real estate, and law. And these creative industries are fueled by the social life that whirls around the clubs, galleries, music venues, and fashion shows where creative people meet, network, exchange ideas, pass judgments, and set the trends that shape popular culture. The implications of Currid's argument are far-reaching, and not just for New York. Urban policymakers, she suggests, have not only seriously underestimated the importance of the cultural economy, but they have failed to recognize that it depends on a vibrant creative social scene. They haven't understood, in other words, the social, cultural, and economic mix that Currid calls the Warhol economy. With vivid first-person reporting about New York's creative scene, Currid takes the reader into the city spaces where the social and economic lives of creativity merge. The book has fascinating original interviews with many of New York's important creative figures, including fashion designers Zac Posen and Diane von Furstenberg, artists Ryan McGinness and Futura, and members of the band Clap Your Hands Say Yeah. The economics of art and culture in New York and other cities has been greatly misunderstood and underrated. The Warhol Economy explains how the cultural economy works-and why it is vital to all great cities.
