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IT'S A BOOK

The second collection of Semp's cartoons to be published in France features some of his favorite subjects: hapless tourists, pipe-smoking novelists, and unruly schoolchildren.

Emma Dexter's introductory text offers a critical account of the recent evolution and role of drawing in the art world, and introduces some of the trends, methods and artists included in the book. In the following and largest section of the book (over 300 pages and approximately 500 illustrations), the 100 or more artists are presented in an A to Z order. Some artists are presented on 2 pages, some on 4 pages. About 5 selections of work are reproduced for each artist, along a text written by an author who is a specialist on the artist's work. The 500-word texts are brief surveys of the artist's career to date, and aim at introducing the methods and subject matter at issue in their recent works. A selected list of exhibitions and bibliography also complements the reproductions and text on each artist.

This book is a visual essay documenting the notion and history of spectacle, those public performances and happenings that galvanize hordes of people and, if only for a brief moment, express the culture of our time in mass participation. From the dazzling opening ceremonies of the Olympic Games to the surreal circus atmosphere of performance troupes like Cirque du Soleil, from holiday parades like Macy's Thanksgiving Day Parade to religious events such as the Hindu festival of Kumbh Mela, which drew millions of pilgrims in 2001, this volume is a tribute to the art of celebration and ritual. As design impresario David Rockwell notes in the book's interview, "the focus of this book's journey is the value of being there. It's not about something happening to you, it's about participating...This is looking at things that are temporary and the power of something that can burst and happen and go away." As editors of this book, Mau and Rockwell bring together eye-popping photographs, interviews, and brief essays that examine the art, evolution, and cultural impact of spectacles old and new and around the globe. The book is divided in six thematic sections, each expressing an aspect of the ritualistic event: Scale, Visual Exuberance, Community, Transformation, Impermanence, and Immersion. Each section documents three spectacles, ranging from the Kumbh Mela celebration in India to Carnival celebrations to the Running of the Bulls in Pamplona, from the glitzy mass appeal of Las Vegas to the historical reenactment of the Calcio Storico in Florence, and ephemeral events like fireworks displays and flashmobs. Each featured spectacle includes several spreads of stunning color and archival photographs, a brief description, selected statistics, and an interview with a noted cultural figure, among whom are art critic Dave Hickey, architects Robert Venturi and Denise Scott-Brown, theater professor Arnold Aronson of Columbia University, and theater director Julie Taymor. Illustrated sidebars profile historical figures and events, such as Pierre de Coubertin, the father of the modern Olympic Games, and the fall of the Berlin Wall. "Spectacle" presents an unprecedented collection of dynamic images that convey the palpable buzz, sheer beauty, and often bizarre fascination of man-made events worldwide. And, for those readers with a desire to get closer to the scenes as spectators or participants, the book includes a listing of 24 events with factual information (where, what, when), among these are the Dakar Motor Rally, the Cherry Blossom Festival in Japan, Dia de los Muertos in Mexico, the New York City Marathon, and Ibiza raves.

Photo Trouvee brings together 285 anonymous 'amateur' photographs, which were discovered and collected over a period of over twenty years in flea markets and antique shops. They are taken from the private collections of Michel Frizot, one of the most highly respected photohistorians in France and internationally, and his colleague Cedric de Veigy, professor of photography and film. These images once belonged to hundreds of now anonymous men and women, both young and old, city- and country-dwellers. They show family reunions and individual portraits, holiday scenes and urban landscapes, still lives and everyday objects. Seen together, they form what the authors call "an anthropology of the ordinary". But however ordinary their subjects might be, the photographs themselves are certainly never mundane. Collections of 'amateur' photographs often display the images as being kitsch or funny, here the approach is very different. The images have been selected as much for the atmosphere and universal feelings of humanity that they engender as for their intrinsic quality as photographs, in fact, they often provoke more questions in the viewer than they answer. As photographs portraying scenes of everyday life, originating both from the past and nearer to the present, they conjure up familiar images and emotions in the reader, be it of a place, a person, a gesture, or simply an atmosphere. The images are presented in 18 carefully edited sections of 13, 15 or 17 images, with each picture displayed on a single page. Neither chronological nor thematic in arrangement, the images have been placed according to their composition, their tone, and the rhythm and narrative dimension of the photographs. Frizot and de Veigy introduce this collection of photographs in their own words, providing a concise explanation of their aims when collecting and curating this intimate and intensely atmospheric body of work.

After studying architecture at Cornell University, Matta-Clark developed more interest in buildings about to be destroyed than in the ones about to be built, as most architects would. He first forced his way into abandoned apartment buildings in the Bronx , and using a chain saw, would act as an architecture pirate, cutting pieces of walls and floors, only to leave behind the remains of what once was architecture. From pieces of walls his work shifted, in 1974, to the scale of a whole suburban house. "Splitting", probably his most popular work, was made by cutting a vertical line through the entire width of the house, and transforming the cut into a yawn, after lowering the foundations on both sides of the house. Erasing the boundaries between architecture, sculpture, and even drawing (his cuts have often been refered to as drawings in space), his building-cuts can also be understood as a social critique of the standardized suburban architecture that flourished during the postwar decades. The book opens with Thomas Crow's survey text on the artist (24,000 words). Divided into 4 chapters plus an epilogue, this richly illustrated essay provides insight into the career of the artist, from his childhood spent between New York and Paris, to his premature death in 1978 at the age of 35. These essays span the multi-faceted practice of Gordon Matta-Clark, with a particular emphasis on his building-cuts, the group of works he is most renowned for and that compose the most important part of his career. This book also includes a "Documents" section, composed of original interviews, articles, and documents compiled by editor Corinne Diserens. Several interviews, some of them never published before, allow the reader to understand more fully, and through Matta-Clark's own voice, the more pragmatic, technical, and physical dimensions related to the creation of his building-cuts. Some articles and essays of reference, most of them published in the 1970s and today out of print, are also republished and offer a unique critical background and context to his work.

Raghubir Singh (1942-1999) was one of the finest documentary photographers. He was born in Rajasthan, India, and for thirty years made countless personal journeys across the vast subcontinent. He travelled along the Ganges, toured the ghats and alleys of Benares and explored the cosmopolitan cities of Calcutta and Mumbai. The result was a series of vibrant photographs that capture the exuberant spirit and restless activity of his native India. Like his hero, Henri Cartier-Bresson, Singh always succeeded in getting into the heart of the scene and intuitively portraying it from the insider's point of view.In his engaging and informative introduction to River of Colour, the first ever retrospective of his work, Raghubir Singh explains what India means to him, focusing in particular on the importance of colour in India. Singh's instinctual affinity with colour is seen again and again in his pictures that follow. Arranged in eleven sections that depict aspects integral to Indian life, including the street, monuments, icons, water and pilgrimages, Singh's photographs reveal everything from the magical to the mundane, providing a comprehensive picture of the country that remains imprinted in the mind.

Born in 1925, Mario Giacomelli died in November 2000. He trained initially as a typographer, and his early interest in graphics became a central part of his later photographic work. Winner of numerous medals and prizes, he achieved international status with exhibitions in Europe, America and Japan. He was intimately involved in the preparation of this book, which was the last major project he undertook, and represents the best of his long career as a photographer and artist. This comprehensive survey demonstrates Giacomelli's highly personal, striking and artistically atmospheric visual style. Each chapter is a carefully chosen sequence of photographs on a particular theme (some with accompanying poems which inspired the sequence). A life-long preoccupation with the life and landscape of his native Italy gives Giacomelli his subject-matter - landscapes, rural townscapes, streetscenes, still life and portraits of everyday Italian life. With 684 beautiful and poetic duotone photographs, this extraordinary and inspiring collection displays a profound understanding of the photographer's country and its people, and a mastery of form and effect that make his photographs imaginative works of art in their own right.

Beneath the world's waters lie landscapes, species, vegetation and populations as diverse and splendid as those on land, yet these kingdoms have been explored by few. is an extraordinary look at the work of David Doubilet, an artist and diver who pioneered the medium of deep-sea reportage to become widely acclaimed as the world's leading underwater photographer. This fascinating and evocative volume looks at a world in which humans are neither the measure nor the master, but an encumbered intruder. From the waters of the Galapagos to the Red Sea, from the Pacific shores to the fresh waters of North America, "Water Light Time" includes over 25 years of Doubilet's work, and reveals the mesmerising beauty of more than 30 bodies of water. Rich with fascinating sea creatures, wondrous life forms and breathtaking underwater landscapes, "Water Light Time" is an unforgettable look at many of the earth's most remarkable natural compositions.

Mary Ellen Mark (b.1940) began working as a freelance photographer in the mid-1960s. In the 1970s, Mark worked on several bodies of work for which she gained her reputation as one of the most provocative documentary photographers, ensuring her legendary status in the history of photography. In 1976, she documented the women's maximum security ward of Oregon State Mental Hospital, and in 1978 she photographed the prostitutes in the brothels of Falkland Road in Bombay. Both became subjects for books published in 1979 and 1981 respectively. In 1977, she became a member of the photographic agency Magnum, remaining with the prestigious organisation until 1982, when she decided to work independently. In the 1980s and 1990s, she photographed and published books on homeless teenagers in Seattle, a holiday camp for children with cancer in California, Mother Teresa, circuses, and most recently, twins in America. Mark has received an impressive number of grants and awards, including three National Endowment for Art grants, the Robert F. Kennedy Journalism Award, a Guggenheim Fellowship, the Picture of the Year Award, and five honorary doctorates, including one from the University of Pennsylvania. Under contract with "The New Yorker" since 2003, she lives in New York City.

Monsieur Lambert is the unmistakably French story of a group of regulars at a Parisian bistro, who see each other for lunch every day, without fail. They are creatures of habit, eating the same set meals on the same day, week in and week out. One day, however, one of their group, Monsier Lambert, does not turn up at the usual time, and the other regulars soon turn to speculating as to the reasons for the sudden and unexpected changes in their fellow diner - it surely must be because of a woman, they conclude. Why else would Monsieur Lambert not appear until twenty to two on one day, but already be eating his main course by the time the rest of them arrive for lunch the very next day? Why does he develop a taste for terrine, a dish he has previously always despised? The diners are right: Lambert has indeed met a wonderful woman, Florence. This revelation changes everything, and instead of discussing football and politics as usual, the other diners in the bistro start reminiscing about women they have loved and lost, about passionate affairs in their past, all the while continuing to take a keen interest in Monsieur Lambert and his Florence. Can this new state of affairs continue? After all, women come and go, but football has always been, and will always be, a part of their lives.

Publikace o nejznámějším japonském designérovi přibližuje dosud nepublikované fotografie jeho prací. Edited by Naoto Fukasawa with essays by Antony Gormley, Jasper Morrison and others Naoto Fukasawa (b.1956) is one of the best-known Japanese product desi

This lively and informative new title was originally inspired by the author’s Italian mother and her struggles with the vagaries of the English language. Over the years the author has tried to correct her attempts and explain why the word she has chosen is incorrect, only to be baffled herself by the lack of logic within those explanations. English is full of contradictions and peculiarities (not counting such dull grammatical inconsistencies as ‘i before e except after c’, which are really no fun at all) and hoodwinks us into believing one thing while meaning something quite different. In English, all is not what it seems and with this book the author has brought these illogical oddities to the fore.

After the destruction of the World Trade Center in New York on September 11th 2001, the world-renowned photographer Joel Meyerowitz felt compelled to visit the site. In his own words, he was 'overcome by a deep impulse to help, to save, to soothe, but, being far away, there was nothing I could do. On his return, Meyerowitz soon made his way to the scene where, upon raising his camera, he was reminded by a police officer that this was a crime scene and that no photographs were allowed. Meyerowitz duly left the scene but within a few blocks the officer's reminder had turned into consciousness. To Meyerowitz, 'no photographs meant no history' and he decided at that moment to find a way in and make an archive for the City of New York. Within days, he had established strong links with many of the firefighters, policemen and construction workers contributing to the clean up. With their assistance he became the only photographer to be granted unimpeded access to Ground Zero. Once there, he systematically began to document the wreckage followed by the necessary demolition, excavation and removal of tens of thousands of tonnes of debris that would transform the site from one of total devastation to level ground. Soon after, the Museum of the City of New York officially engaged Meyerowitz to create an archive of the destruction and recovery at Ground Zero. The 9/11 Photographic Archive numbers in excess of 5,000 images and will become part of the permanent collections of the Museum of the City of New York. Meyerowitz takes a meditative stance toward the work and workers at Ground Zero, methodically recording the painful work of rescue, recovery, demolition and excavation. His pictures succinctly convey the magnitude of the destruction and loss and the heroic nature of the response. The images included here are a combination of prints from a large format camera, which allows for the greater detail, and standard 35mm, a format which provided Meyerowitz with the freedom to move easily around the site and capture each moment as it happened. The remarkable pictures in the archive visually relate the catastrophic destruction of the 9/11 attacks and the physical and human dimensions of the recovery effort. The aim of this book is to provide record of the extraordinary extent of the World Trade Center attacks and to documents the recovery efforts. The book will serve as both a poignant elegy to those that lost their lives and as a celebration of the tireless determination of those left behind to reclaim and rebuild the area known as 'Ground Zero'. Twenty eight of the images in from the archive were displayed in New York and then in over fifty cities around the world in a travelling exhibition entitled After September 11: Images from Ground Zero.

Most famous in the English-speaking world for his instantly recognizable "New Yorker" covers, Jean-Jacques Sempe has delighted readers in France and beyond with his witty drawings and keen eye for the finer points of the human condition for over 40 years. Now, his sharply observed and beautifully drawn cartoons are available in English for the first time. The pithy captions were translated from the original French by Anthea Bell, who also translated the Asterix comics into English.

Moderní a stylový kapesní průvodce Bangkokem z úspěšné řady, kterou připravují zasvěcení autoři pracující z magazínu Wallpaper. Přináší top ten z oblasti designu, architektury, umění, ale i dobrého jídla a skvělého ubytování v metropolích. Nezáleží na to