With a landmark around every corner and a picture perfect view atop every hill, San Francisco might be the world's most picturesque city. And yet, the Golden City is so much more than postcard vistas. It's a town alive with history, culture, and a palpable sense of grandeur best captured by a man known as San Francisco's Brassai. Walking the city's foggy streets, the fourth-generation San Franciscan captures the local's view in dramatic black-and-white photos— from fog-drenched mornings in North Beach and cable cars on Market Street to moody night shots of Coit Tower and the twists and turns of Lombard Street. In San Francisco, Portrait of a City 1940–1960, Fred Lyon captures the iconic landscapes and one-of-a-kind personalities that transformed the city by the bay into a legend. Lyon's anecdotes and personal remembrances, including sly portraits of San Francisco characters such as writer Herb Caen, painters Richard Diebenkorn and Jean Varda, and madame and former mayor of Sausalito Sally Stanford add an artist's first-hand view to this portrait of a classic American city.
This collection by the acclaimed photographer reveals the shadowy side of the City by the Bay. Following in the footsteps of classic films like The Maltese Falcon and The Lady from Shanghai, veteran photographer Fred Lyon creates images of San Francisco in high contrast with a sense of mystery. In this latest offering from the photographer of San Francisco: Portrait of a City 1940–1960, Lyon presents a darker tone, exploring the hidden corners of his native city. Images taken in the foggy night are illuminated only by streetlights, neon signs, apartment windows, and the headlights of classic cars. Sharply dressed couples stroll out for evening shows, drivers travel down steep hills, and sailors work through the night at the old Fisherman’s Wharf. In many of the photographs, the noir tone is enhanced by double exposures, elements of collage, and blurred motion. These strikingly evocative duotone images expose a view of San Francisco as only Fred Lyon could capture.
The bestselling book from two prizewinning, critically acclaimed contemporary chroniclers of San Francisco-a rich, illustrated, idiosyncratic portrait of this great city. In Spirits of San Francisco, #1 bestselling Cool Gray City of Love author Gary Kamiya joins forces with celebrated, bestselling artist Paul Madonna to take a fresh look at this one-of-a-kind city. Marrying image and text in a way no book about this city has done before, Kamiya's illuminating narratives accompany Madonna's masterful pen-and-ink drawings, breathing life into San Francisco sites both iconic and obscure. Paul Madonna's atmospheric images will awe: his wide-angle drawings offer a new perspective on the “crookedest street in the world” and vistas across the city. And Kamiya's engaging prose, accompanying each image, offers striking vignettes of this incredible city: witness his story of “Dumpville,” the bizarre community that sprang up in the 19th century on top of a massive garbage dump. Handsome and irresistible-much like the city it chronicles-Spirits of San Francisco is both a visual feast and a detailed, personal, loving, informed portrait of a beloved city.
North Beach and Telegraph Hill are among San Francisco's most charming and historic districts. In the early years, Mexican and Spanish settlements dotted the beach and the hill, but the area was heavily developed during California's Gold Rush as gold seekers flooded the city. Later, European immigrants added many layers of unique character. North Beach was home to A. P. Giannini, founder of the Bank of Italy (later the Bank of America), and in the 1950s, the Beat Generation evolved from the creative character of this artistic neighborhood. Charming cottages and architectural gems, such as famed landmark Coit Tower, decorate the slopes down to the bay, delighting residents and tourists alike. Many cafAA(c)s and restaurants offer delicious foods, while the breathtaking views provide food for the soul.
Over the last few decades, a rich and increasingly diverse practice has emerged in the art world that invites the public to touch, enter, and experience the work, whether it is in a gallery, on city streets, or in the landscape. Like architecture, many of these temporary artworks aspire to alter viewers' experience of the environment. An installation is usually the end product for an artist, but for architects it can also be a preliminary step in an ongoing design process. Like paper projects designed in the absence of "real" architecture, installations offer architects another way to engage in issues critical to their practice. Direct experimentation with architecture's material and social dimensions engages the public around issues in the built environment that concern them and expands the ways that architecture can participate in and impact people's everyday lives. The first survey of its kind, Installations by Architects features fifty of the most significant projects from the last twenty-five years by today's most exciting architects, including Anderson Anderson, Philip Beesley, Diller + Scofidio, John Hejduk, Dan Hoffman, and Kuth/Ranieri Architects. Projects are grouped in critical areas of discussion under the themes of tectonics, body, nature, memory, and public space. Each project is supplemented by interviews with the project architects and the discussions of critics and theorists situated within a larger intellectual context. There is no doubt that installations will continue to play a critical role in the practice of architecture. Installations by Architects aims to contribute to the role of installations in sharpening our understanding of the built environment.
Traces the history of gay men and lesbians in San Francisco, from the turn of the century, when queer bars emerged in San Francisco's tourist districts, to 1965, when a raid on a drag ball energized the gay community. Includes excerpts from oral histories of lesbians and gay men who have lived in San Francisco since the 1930s.
In the early 1940s as the conflict between the Axis and the Allies spread worldwide, the U.S. State Department turned its attention to Axis influence in Latin America. As head of the Office of Inter-American Affairs, Nelson Rockefeller was charged with cultivating the region's support for the Allies while portraying Brazil and its neighbors as dependable wartime partners. Genevieve Naylor, a photojournalist previously employed by the Associated Press and the WPA, was sent to Brazil in 1940 by Rockefeller's agency to provide photographs that would support its need for propaganda. Often balking at her mundane assignments, an independent-minded Naylor produced something far different and far more rich--a stunning collection of over a thousand photographs that document a rarely seen period in Brazilian history. Accompanied by analysis from Robert M. Levine, this selection of Naylor's photographs offers a unique view of everyday life during one of modern Brazil's least-examined decades. Working under the constraints of the Vargas dictatorship, the instructions of her employers, and a chronic shortage of film and photographic equipment, Naylor took advantage of the freedom granted her as an employee of the U.S. government. Traveling beyond the fashionable neighborhoods of Rio de Janeiro, she conveys in her work the excitement of an outside observer for whom all is fresh and new--along with a sensibility schooled in depression-era documentary photography of Dorothea Lange and Walker Evans, as well as the work of Cartier-Bresson and filmmaker Serge Eisenstein. Her subjects include the very rich and the very poor, black Carnival dancers, fishermen, rural peasants from the interior, workers crammed into trolleys--ordinary Brazilians in their own setting--rather than simply Brazilian symbols of progress as required by the dictatorship or a population viewed as exotic Latins for the consumption of North American travelers. With Levine's text providing details of Naylor's life, perspectives on her photographs as social documents, and background on Brazil's wartime relationship with the United States, this volume, illustrated with more than one hundred of Naylor's Brazilian photographs will interest scholars of Brazilian culture and history, photojournalists and students of photography, and all readers seeking a broader perspective on Latin American culture during World War II. Genevieve Naylor began her career as a photojournalist with Time, Fortune, and the Associated Press before being sent to Brazil. In 1943, upon her return, she became only the second woman to be the subject of a one-woman show at New York's Museum of Modern Art. She served as Eleanor Roosevelt's personal photographer and, in the 1950s and 1960s became well known for her work in Harper's Bazaar, primarily as a fashion photographer and portraitist. She died in 1989.
Located in the heart of the San Francisco peninsula, San Carlos is known as the aCity of Good Living.a Originally inhabited by the Costanos Indians, the town was part of the Rancho de las Pulgas land grant during the Spanish mission days. Incorporated in 1925, San Carlos is considered the birthplace of todayas Silicon Valley, having been home to such firms as Varian, Ampex, and Dalmo-Victor. The town has also boasted one of the militaryas largest dog-training facilities, the Morse Seed Company, and a number of great theaters. Community values are strong here, with popular events such as the Home Town Days Parade and Festival, Art and Wine Faire, Hot Harvest Nights, and the biannual Chickenas Ball. Over the years, the city has worked to preserve its history and many of its early structures while also providing citizens with modern civic buildings and other amenities.
A photographic journey through the history of this epic city Samuel Johnson famously said that: “When a man is tired of London, he is tired of life.” London’s remarkable history, architecture, landmarks, streets, style, cool, swagger, and stalwart residents are pictured in hundreds of compelling photographs sourced from a wide array of archives around the world. London is a vast sprawling metropolis, constantly evolving and growing, yet throughout its complex past and shifting present, the humor, unique character, and bulldog spirit of the people have stayed constant. This book salutes all those Londoners, their city, and its history. In addition to the wealth of images included in this book, many previously unpublished, London’s history is told through hundreds of quotations, lively essays, and references from key movies, books, and records. From Victorian London to the Swinging 60s; from the Battle of Britain to Punk; from the Festival of Britain to the 2012 Olympics; from the foggy cobbled streets to the architectural masterpieces of the millennium; from rough pubs to private drinking ♣ from Royal Weddings to raves, from the charm of the East End to the wonders of the Westminster; from Chelsea girls to Hoxton hipsters; from the power to glory: in page after page of stunning photographs, reproduced big and bold like the city itself, London at last gets the photographic tribute it deserves. Photographs by: Slim Aarons, Eve Arnold, David Bailey, Cecil Beaton, Bill Brandt, Alvin Langdon Coburn, Anton Corbijn, Terence Donovan, Roger Fenton, Bert Hardy, Evelyn Hofer, Frank Horvat, Tony Ray-Jones, Nadav Kander, Roger Mayne, Linda McCartney, Don McCullin, Norman Parkinson, Martin Parr, Rankin, Lord Snowdon, William Henry Fox Talbot, Juergen Teller, Mario Testino, Wolfgang Tillmans, and many, many others. For die-hard lovers of Paris, Berlin, London, Los Angeles, and New York, TASCHEN introduces the Portrait of a City Art Edition series. For each edition, limited to only 500 copies, a legendary local fashion designer is invited to design a bespoke fabric to line the cover, and a large signed and numbered print of one of the images from the book is included. Paul Smith has designed the fabric cover for the Art Editions of London: Portrait of a City, and the print Traffic Policeman was taken by photographer Elmar Ludwig. Art Edition B - No. 501-1,000 Traffic Policeman, 1960s Fine art print on archival paper 52 x 68 cm (20.5 x 26.8 in.) (Frame not included) Also available in another Art Edition (No. 1-500)
Even before San Francisco was founded as a city, Russian visitors, explorers, and scientists sailed to the area and made contact with both the indigenous people and representatives of the Spanish government. Although the Russian commercial colony of Fort Ross closed in 1842, the Russian presence in San Francisco continued and the community expanded to include churches, societies, businesses, and newspapers. Some came seeking opportunity, while others were fleeing religious or political persecution. In the 1920s, San Franciscoas Russian population grew exponentially as refugees of the Russian Revolution and civil war arrived, and by the 1950s, a vibrant and culturally rich Russian A(c)migrA(c) community was thriving in San Francisco. Today the 75,000 Russian speakers who live in the San Francisco Bay Area continue to pass on their heritage to their children.
