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Volume 1 is the first in a series of publications presenting different aspects of Michael Stipe's multifaceted artistic practice. Volume 1 includes a focused presentation of 35 images, bringing together 37 years of Stipe's practice of creating and collecting photographic materials, in addition to posing as a subject in the photographs of others. The book centers around his unconventional and deeply personal understanding of queerness, conflating figures in his own life with those in American history and popular culture. Throughout the book, the formal qualities of images often relate in a poetic or lyrical way, allowing for unlikely juxtapositions and connections to emerge between subjects. These relationships transcend logical associations between time, place, and social structures. Volume 1 is produced in collaboration with artist Jonathan Berger and designer Julian Bittiner.

"For me, the essence of documentary photography has always been to do with evidence." --Susan Meiselas A member of Magnum Photos since 1976, Susan Meiselas became known for her work in the conflict zones of Central America in the 1970s and '80s and for the strength of her color photography. Covering many subjects and countries, from war to human-rights issues and from cultural identity to the sex industry, Meiselas uses photography, film, video and sometimes archive material, as she relentlessly explores and develops narratives integrating the participation of her subjects in her works. Meiselas constantly questions the photographic process and her role as witness. Presenting a selection of works from the 1970s through the present day, Susan Meiselas: Mediations retraces her trajectory from the 1970s to the present. Published to accompany a major traveling retrospective of the photographer's work, it features an illustrious list of contributors that includes Ariella Azoulay, Eduardo Cadava and Kristin Lubben, among others. Susan Meiselas (born 1948) studied at Sarah Lawrence College and Harvard University, taking up photography in the early 1970s. She is credited with being one of the first to work with color in documentary photography, a controversial decision when she was shooting the conflict in Nicaragua in the late 1970s. Meiselas joined Magnum Photos in 1976 and has worked as a freelance photographer since then.

Little known to many who live there and to the throngs of tourists who pass through each year, New York and New Jersey are home to a diverse and vibrant cold water surfing community. Ice Cream Headaches captures a snapshot of this often overlooked facet of America's most dense metropolis. Over a span of four years, writer Ed Thompson and photographer Julien Roubinet have logged more than 5,000 miles from Eastern Long Island to Cape May in South Jersey to interview and photograph forty surfers, surf board shapers, artists and documentarians of the culture personally. From local legend and Montauk fisherman Charlie Weimar to Pulitzer-prize-winning author William Finnegan and professional surfers with global followings such as Quincy Davis, Mikey De Temple and Balaram Stack, this new monograph highlights surfers who experiment with new forms, materials, ideas or surfing styles. Across 192 pages, the book features four essays rich with quotes and anecdotes, over 150 photographs, and a foreword by iconic portrait and surf photographer Michael Halsband. Ice Cream Headaches takes the reader inside the surf breaks and stomping grounds of the surfers who call New York and New Jersey home, surfers who are willing to pull on a 5mm wetsuit, wade through a foot of snow on the beach, and battle thirty mile per hour winds for a few fleeting moments inside a yawning barrel.

Jean Pagliuso: In Plain Sight surveys the multifaceted career of photographer Jean Pagliuso (born 1941). Pagliuso began her career in fashion, shooting for magazines like Mademoiselle, and rose to collaborate with film studios and directors, taking photographs on the sets of movies like American Gigolo and Three Women. In the mid-1990s, Pagliuso shifted to experimenting with photographic printing processes--a concern that still animates her work--but her experience in the fashion and motion picture industries continues to inflect her photography, imbuing it with a subtle sense of theatricality. Whether Pagliuso is photographing the expansive deserts of New Mexico, the pyramids of Egypt, fashion models or chickens, she produces engaging and ethereal images with an indelible presence. This comprehensive monograph on Pagliuso's career of over five decades features an introduction and personal essay by Jean Pagliuso.

Toilet Paper is an artists' magazine created and produced by Maurizio Cattelan and Pierpaolo Ferrari, born out of a passion or obsession they both cultivate: images. The magazine contains no text; each picture springs from an idea, often simple, and through a complex orchestration of people it becomes the materialization of the artists' mental outbursts. Since the first issue in June 2010, Toilet Paper has created a world that displays ambiguous narratives and a troubling imagination. It combines the vernacular of commercial photography with twisted narrative tableaux and surrealistic imagery.

Toiletpaper is an artists' magazine created and produced by Maurizio Cattelan and Pierpaolo Ferrari and born out of a shared passion for images. The magazine contains no text. Each picture springs from an idea, often simple, and through a complex orchestration of people it becomes the materialisation of the artists' mental outbursts. Since the first issue, in June 2010, Toiletpaper has created a world that displays ambiguous narratives and a troubling imagination. It combines the vernacular of commercial photography with twisted narrative tableaux and surrealistic imagery. The result is a publication that is itself a work of art which, through its accessible form as a magazine, and through its wide distribution, challenges the limits of the contemporary art economy.

he book COLORS aims to explore the best of visual and textual material of the 90 issues of the magazine, created by the photographer Oliviero Toscani and the art director Tibor Kalman in 1991. The content is presented transversely through a subdivision in ten macro-themes which highlight the "Tumblr ante litteram" nature of the magazine. Twenty-five years of images and texts are shaken and served using ingredients from different issues. The idea is to tell COLORS by using its own words, in a visionary journey through time, between irony and semiotics, rereading the analysis of the world carried out by the magazine, acknowledging its high research value. Among the objectives: - celebrating and narrating COLORS in a non-direct and linear way. - not providing an axiomatic volume or making it a monument, but rather making it a subject still alive and able to talk about today's world through the work carried out on the world back then.- producing an object attractive to both the collectors and those who do not know the magazine at all, trying to intrigue those who may have only a few numbers, those who believed it was no longer published and the most faithful readers. The project becomes the clarification of the exhibit of the "rest of world" made by COLORS over the years. The themes are: - BANG! (bang, bang, bang!) weapons, violence, lust, shock; - I WANT TO BELIEVE (oh my God, it's Sunday! - Time to wake up and smell the regret) everything relating to Sunday, faith, cults, national sport, what we worship; - PLACES (People write songs about places like you - You have ruined my life) places, countries, cities, and the rooms where things happen; - THAT'S AMORE (more amore) heart, physical love, the good despite everything - DRINKING BUDDIES (did somebody say "proprioception"?) portraits of people with stories to tell, human cases, superheroes; - ELVIS (the Good, the Bad and the Elvis) fame, excess, degeneration, disguise, kitsch. - WHERE THE HELL IS MY TAIL? ("Tienes hair muy bonito!" "Quien, yo?") the animal world, with hair, tails and everything else, missing links (?) included; - COLORS IS THE NEW BLACK the essence of COLORS through the use of colors, all the colors of its themes; - FUTURE IS TEN MINUTES AWAY (I wanted to be an architect but my parents said the) the future, predictions about the future and how we get ready for it. A tribute to COLORS # 13 ends off the volume: it is the issue where Tibor Kalman narrated without the use of words.