powerHouse Books Spring 2009 Catalog

Spring/Summer 2009 Catalog

THIS IS OUR MOMENT

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WE CAN DO ANYTHING

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powerHouse Books

Spring/Summer 2009 Catalog

November 4, 2008

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Shapes of my heart A Life in Pictures

Photographs by Pierre-Henri and Yann-Brice Dherbier Text by Name

Verlhac

From Pierre-Henri Verlhac and Yann-Brice Dherbier, the editors of the best-selling John F. Kennedy: A Life in Pictures, comes its companion, Jackie: A Life in Pictures—a visual voyage through the life of Jackie, also known as Jackie Bouvier, Jackie Kennedy, Jackie Onassis. This iconic volume features the most exquisite photographs, many of which are previously unpublished, ever taken of America’s legendary First Lady, as well as a biography, personal notes, and handwritten correspondence. A sumptuous, oversized edition, this 272-page book includes over 250 glamorous, dramatic, and intimate images taken throughout her life.

Photography/Fashion/American Icons Hardcover, 10 x 11.75 inches, 272 pages, over 250 four-color and black-andwhite photographs

ISBN 978-1-57687-XXX-X

$39.95 / Cnd $57.95

Pierre-Henri Verlhac co-founded Phyb Publishing after being a media banker in Los Angeles, London, and Paris. The coeditor of John F. Kennedy: A Life in Pictures (Phaidon, 2003), he is also a classical music photographer. Verlhac holds an M.B.A. from Essec in Paris, where he lives and works.

Yann-Brice Dherbier was born in France, moved to New York and then London after his college years, where he developed a passion for contemporary art, photography in particular.

At the age of thirty-one, after having worked eight years in finance (as a CFO in the luxury industry), he decided to take a chance on an old dream: publishing beautiful photography books. The co-editor of John F. Kennedy: A Life in Pictures (Phaidon, 2003), Dherbier has also been an amateur photographer and a photography book collector since the age of twenty. Dherbier lives and works in Paris.

Bringing us into her exclusive and privileged world, Jackie: A Life in Pictures takes us from the early days of her upper class upbringing in the 30s and 40s to her courtship and marriage to J.F.K. in 1953 and her life as a politician’s wife.

From the Camelot years, when Jackie charmed the world with her classic style and effortless panache, we witness the public and private moments of the famed First Family. After J.F.K.’s tragic death, we follow Jackie as she finds consolation in the arms of Aristotle Onassis, and travel with her among the jet set. And lastly, we spend time with Jackie in her final years in New York City, as a book editor, proud mother, and honorary stateswoman.

The book features Jackie’s handwritten documents, provided by her daughter, Caroline Bouvier Kennedy, and photographs

by Magnum photographers Cornell Capa, Raymond Depardon, Eve Arnold, Erich Hartmann, and Philip Jones Griffith; famed paparazzo and Jackie follower Ron Galella; J.F.K. White House photographers Abbie Rowe, Robert Knudsen, and Cecil Stoughton; and Mark Shaw, Stan Kislowski, and Toni Frissell; as well as Miss Porter’s School class portraits.

The ultimate volume for Jackie’s admirers, Jackie: A Life in Pictures offers a rare opportunity to observe the complex and fascinating woman as her life unfolded before the world’s eyes.

www.obamachalkboard.com

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November 4, 2008

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Yes We Can

Barack Obama’s History-Making Presidential Campaign Photographs by

Scout Tufankjian

Yes We Can is the story of Barack Obama’s historic journey from junior Senator from Illinois to President of the United States as documented by Scout Tufankjian, the only photographer to cover his entire nearly two-year campaign, and is the only photography book showcasing images of Obama’s unforgettable victory celebration in Grant Park, Chicago on election night, 2008.

CURRENT EVENTS/POLITICS/HOPEFashion/American Icons Hardcover, 8.375 x 11 inches, 192 pages, 250 full color photographs

ISBN 978-1-57687-504-9

Obama’s grassroots journey touched something profound in America, inspiring millions of Americans, young and old, rich and poor, and from every racial and ethnic background, bringing together disparate people throughout the electorate in the service of change. In the course of his visits to almost every state in the union, Obama electrified record-breaking crowds at his rallies and motivated millions of people to engage in the political process. The results have been nothing short of a revolution in political strategy, communication, and activism.

$29.95 / Cnd $32.00

Scout Tufankjian has had photographs published in every major newspaper and news magazine, including Newsweek, Time, The New York Times, People, The Guardian, ELLE, Esquire, Essence, Rolling Stone, Fortune, The Times of London, Stern, Der Spiegel, and many others. Before covering the Obama campaign, Tufankjian worked photographing the conflict in the Middle East, primarily the Gaza Strip, for four years. She lives in Brooklyn, and has a B.A. in Political Science from Yale.

Be it a skeptical old farmer from Tama, Iowa, who was surprised to realize that he had something in common with this young black politician, or an eight-year-old boy from Los Angeles who couldn’t stop declaring, “He looks like me and he is going to be President!”, Senator Obama instilled a feeling of unity and hope in a nation scarred by divisive politics and pessimism. Obama’s campaign created a movement, a faith, and a feeling that has not been present in American politics for decades—if ever.

Yes We Can is a comprehensive and intimate portrait of this transformative campaign, ushering a new era in American politics. With more than 200 color photographs by Tufankjian, the book transports readers to each emotional stop on this historical journey, punctuated with highlights from Obama’s most memorable speeches. Tufankjian artfully captures the impact this amazing candidate had with Americans of all stripes.

From coffee shops and diners to auto plants and bowling alleys, Tufankjian followed Obama as he wooed potential voters in middle class neighborhoods as well as in poverty-stricken Indian reservations. She covered the primaries, the debates, and the final weeks of the hard-fought campaign, shooting more than 12,000 images—compiling the widest variety, the most intense moments, and the greatest ecstatic receptions to greet the young politician on the campaign trail. Yes We Can is as much about Americans and their visions for America’s future as it is about the man that gave them voice—and hope.

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MADONNA CONFESSIONS Photography and introduction by

Guy Oseary

In conjunction with this year’s most talked-about concert, Madonna’s “Sticky and Sweet” Tour, powerHouse Books presents Madonna Confessions, the official book of photographs from the Material Girl’s sold-out 2006 “Confessions” Tour, taken by manager Guy Oseary over the course of more than 50 performances around the world.

Music/Fashion/Living legends Hardcover, 8.25 x 10.25 inches, 224 pages, over 250 four-color photographs

ISBN 978-1-57687-481-3

LUCKY STAR

$39.95 / Cnd $42.95

Guy Oseary is the CEO of Maverick and Madonna’s manager. He has worked closely with Madonna for two decades. As Osear y was the only photographer allowed access to capture ever y single concer t, this book contains the quintessential moments from the “Confessions” Tour.

In over 250 never-before-seen images, the book showcases the tour’s various provocative themes, from an iconographic equestrian opening to an urban Bedouin segment, and on to glam punk and disco fever. The photographs celebrate what The New York Times calls “the sheer spectacularity of her physical form,” along with show-stopping highlights and groundbreaking staging.

Osear y traveled with Madonna for the entire tour, enjoying unprecedented access to each per formance, and his photographs vividly capture the excitement and sheer energy that came alive onstage ever y night. The images in the book were personally selected by Madonna and Osear y and are interspersed with her lighthear ted quotes from various per formances.

Long considered one of the most exciting live per formers of our time, Madonna shines in Madonna Confessions, a visual delight that showcases a crowning moment in the multi-Grammy winner and Rock and Roll Hall of Fame inductee’s astounding career.

All author proceeds will be donated to the Raising Malawi foundation.

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When I first met Wezi she was responsible for looking after three

I Am Because We Are

infants. I realized at this moment the reality or rather the insanity of

Photographs by Kristen Foreword by Madonna

children looking after children.

Wezi is one of five hundred

Ashburn

I Am Because We Are is the companion volume to the acclaimed forthcoming documentary film directed by Nathan Rissman and written and produced by Madonna. This book of images by award-winning photojournalist Kristen Ashburn—culled from her work in Malawi and Africa over the past seven years as well as from her specially commissioned photographs for the film—provides an intimate look at the lives of eight Malawian children featured in the film and reveals the harsh reality of the AIDS pandemic throughout southern Africa.

orphans at Home of Hope. The orphanage is crowded and dirty.

The entire time I spent there I only met two adults. It felt like a small city run by kids.

­—Madonna

FANIZO

Current Events/Film/AIDS in Africa Hardcover, 10.75 x 10.75 inches, 180 pages, 106 duotone and 44 four-color photographs

ISBN 978-1-57687-482-0

My name is Fanizo. I am an orphan.

Often I think about not having a mother or a father.

I feel sad when my friends tell me the good things their parents are doing for them.

I miss the love of my mother.

$49.95 / Cnd $53.50

Kristen Ashburn’s photographs and stories from the Middle East, Europe, and Africa have appeared in many publications worldwide. Her accolades include a 2007 Emmy Award nomination, two World Press Photo prizes, a Getty Foundation grant in 2006, Canon’s Female Photojournalist Award in 2004, and other honors. She began photographing the impact of AIDS in southern Africa in 2001, and since then has also produced stories on the war in Iraq, Jewish settlers and suicide bombers in Israel’s occupied territories, and the aftermath of the tsunami in Sri Lanka and Hurricane Katrina in New Orleans. In addition to her humanitarian photography, Ashburn is one of the directors of Through the Eyes of Children: The Rwanda Project, a charity that teaches photography to Rwandan orphans of the 1994 genocide and suppor ts them through the sale of their images. Ashburn lives in New York City and is represented by Contact Press Images.

Madonna’s film I Am Because We Are will headlined Michael Moore’s Traverse City Film Festival on August 2, 2008.

The title is derived from the concept of “Ubuntu,” an idea in African spirituality that states that all of humanity is connected, that we cannot be ourselves without community, that an individual’s well-being is dependent upon the wellbeing of others.

These heart-wrenching stories are a call to action. In Malawi, a country of 13 million people, over one million are orphans. Looking into the hearts and minds of children who have endured unimaginable suffering, the book provides an unflinching view of life at the center of the global AIDS crisis.

This is not just a story about orphans in Malawi, but about global responsibility and human interconnectedness.

I Am Because We Are includes a foreword by Madonna, an afterword by Ashburn, excerpts from interviews with Malawian children, their biographies, and extended captions.

All author proceeds will be donated to the Raising Malawi foundation.

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BLACK LIGHT Photographs by Kehinde Wiley Essay by Brian Keith Jackson

Los Angeles native and New York-based visual artist Kehinde Wiley has firmly situated himself within art history’s portrait painting tradition. As a contemporary descendent of a long line of portraitists—including Reynolds, Gainsborough, Titian, Ingres, and others—Wiley engages the symbols and visual rhetoric of the heroic, powerful, majestic, and sublime in his representation of urban black and brown men found throughout the world. By applying the visual vocabulary and conventions of glorification, wealth, prestige, and history to subject matter drawn from the urban fabric, Wiley makes his subjects and their stylistic references juxtaposed inversions of each other, imbuing his images with ambiguity and provocative perplexity.

Portraits/Art/Photography Hardcover, 12.25 x 15.25 inches, 56 pages, 20 four-color images

ISBN 978-1-57687-486-8

$60.00 / Cnd $64.00

Kehinde Wiley received his MFA from Yale University in 2001. Shortly after, he became an artist-in-residence at the Studio Museum in Harlem. He is represented by Deitch Projects, New York, Rhona Hoffman Galler y, Chicago, and Roberts and Tilton, Los Angeles. His work has been exhibited internationally and is in the permanent collections of many museums, including the Brooklyn Museum, New York, the Miami Art Museum, Miami, and the Detroit Institute of Arts, Detroit.

Brian Keith Jackson is an award-winning author of three novels, playwright, and arts and culture writer. His work has appeared in publications and as wall text for private and public art institutions, as well as in The New York Times, National Public Radio, New York Magazine, the London Observer, Vibe, and Paper, among others.

In Black Light, his first monograph, Wiley’s larger-than-life figures disturb and interrupt tropes of portrait painting, often blurring the boundaries between traditional and contemporary modes of representation and the critical portrayal of masculinity and physicality as it pertains to the view of black and brown young men. The models are dressed in their everyday clothing, most of which is based on far-reaching Western ideals of style, and are asked to assume poses found in paintings or sculptures representative of the history of their surroundings. This juxtaposition of the “old” inherited by the “new”—who often have no visual inheritance of which to speak—immediately provides a discourse that is at once visceral and cerebral in scope.

Without shying away from the socio-political histories relevant to the subjects, Wiley’s heroic images exhibit a unique modern style that awakens complex issues which many would prefer remain mute.

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The Taqwacores By

Music/Islamic-American Youth Studies Hardcover, 11.5 x 9.5 inches, 112 pages, 105 four-color photographs

ISBN 978-1-57687-500-1

$35.00 / Cnd $37.50

Born in Paris in 1980, Kim Badawi is American photojournalist and documentarian of French, Egyptian, and Slovenian background. He began his photographic career photographing the plight of refugee families from Mississippi to Texas in the aftermath of Hurricane Katrina, while still interning for Contact Press Images and Magnum Photos in New York. Selected for publication by the Center for Documentary Studies at Duke University, Badawi’s work appears in 25 Under 25: Up-and-Coming American Photographers (powerHouse Books, 2008).

Kim Badawi

Just a few years ago the notion of “taqwacore,” a Muslim subgenre of punk rock, existed only as an inspired fiction.

Writer Michael Muhammad Knight coined the term for his novel The Taqwacores, the story of a Muslim punk house in Buffalo, NY, which Knight initially distributed from the back of his car in DIY xerox format. In time, the book found legitimate distribution and garnered supporters, even inspiring the first woman-led prayer of a mixed-gender congregation in the United States in 2005. But something far grander was in the works; unbeknownst to Knight, a real Muslim punk scene was starting to emerge, based on the one he had imagined for the book.

Photographer Kim Badawi first met Knight around this time, and bore witness as the taqwacore phenomenon began to take hold. Beginning in 2006, Badawi traveled across the U.S., chronicling the burgeoning subculture and the musicians who had been spurred to action by Knight’s creative vision. In 2007 he was invited to accompany the TaqwaTour, traveling to major cities across North America alongside bands including The Kominas and Secret Trial Five. As the genre continues to take shape and influence a rising generation of artists and intellectuals, Badawi’s The Taqwacores stands as a photographic companion to the original text and an indispensable document of the making of a movement.

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THE INVISIBLE EMPIRE Ku Klux Klan Photographs by

Anthony S. Karen

Established in 1866, the Ku Klux Klan still remains one of America’s most secretive organizations. New York photojournalist Anthony Karen first transcended that secrecy several years ago when he got the opportunity to photograph a KKK crosslighting ceremony; since then, he has been documenting Klan organizations throughout the country. Those photographs are compiled to form an absorbing document of one of the most notorious groups in history in The Invisible Empire.

PHOTOGRAPHY/Red State Studies Hardcover, 12.25 x 8.25 inches, 128 pages, 134 duotone photographs

ISBN 978-1-57687-490-5

$39.95 / Cnd $42.95

Anthony Karen is a photojournalist based in New York.

His passion for photography began in Haiti, where he documented the various Vodou rituals and pilgrimages throughout the countr y before embarking on the Ku Klux Klan project. Karen ser ved in the U.S. Marine Corps and worked for many years in the personal protection industr y.

He has traveled extensively worldwide and has worked with many humanitarian groups, including the Humane Society of the United States. He currently freelances for World Picture News.

Taken with unrestricted access, Karen’s images bring us deep inside America’s most private white nationalist organizations. Beginning with a brief introduction into the history of the Klan, the book provides detailed visual accounts of modern-day Klan life, including candid shots of rallies, individual portraits of Klansmen and women, as well as a look at the naturalization process for new members.

Presented in intimate profiles are a functioning Klan ministry, a group that has merged National Socialism with Klan ideologies, and a 58-year-old seamstress who makes custom Klan robes, among others. Accompanied by quotations from Dale Fox, the late Imperial Wizard of The Brotherhood of the Klans, The Invisible Empire offers an insider’s view of the shadowy society and its mysterious inner workings.

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I.E.D.

War in Iraq

By David Levinthal Text edited by David Stanford

“Levinthal’s technique blurs the distinctions between toys and what they represent, and by extension, between fantasy and reality.”

—Grady T. Turner “So clever, so thematically complicated are David Levinthal’s artistic photographs one could mistake them for intellectual riddles.”

—Roger Rosenblatt

PHOTOJOURNALISM/ART/Current Events Hardcover, 8.75 x 11.25 inches, 96 pages, 70 four-color photographs

ISBN 978-1-57687-488-2

$29.95 / Cnd $32.00

David Levinthal, born in San Francisco in 1949, has been working with toy figures and tableaux as the subject matter for his artwork since 1972. He is the photographer and coauthor, with Garry Trudeau, of Hitler Moves East, originally published in 1977. In January of 1997, the International Center of Photography presented a survey of Levinthal’s work from 1975 through 1996. He has received a National Endowment for the Arts Fellowship and was named a 1995 Guggenheim Fellow, among other accolades. His work is included in numerous museum collections, including the Whitney Museum of American Art, the Museum of Modern Art, The Metropolitan Museum of Art, the Gene Autry Western Heritage Museum, and The Menil Collection.

David Stanford edits the military blog The Sandbox with Garry Trudeau on Doonesbury.com, publishing dispatches from soldiers in Iraq and Afghanistan, returning troops, and home-front spouses and parents.

Dealing with war in any context is always a difficult and often problematic venture. In I.E.D., acclaimed photographer David Levinthal uses toy soldiers and plastic Humvees to attempt to explore and understand the ongoing conflict in Iraq.

Why simulate a war with toys when it is already so familiar to us through daily news broadcasts, and so well documented by photojournalists and soldier-generated cell-phone imagery? In part it is because this book is not just a re-creation of the war in Iraq; it is also a commentary about our society and how it is imaging and imagining a war through the use of such direct and immediate signifiers. Never before has there been an instance of such a massive production of toys directly related to a current and unresolved conflict.

Levinthal has always viewed toys as both an abstraction and as a tool by which a society and a culture socializes itself.

The choice of which and what kind of toys are created, how they are posed, and what they are attempting to represent reflects assumptions about a society’s views. I.E.D. is an attempt to look at these questions, using the canvas of the war in Iraq and the new and frightening aspects of this conflict. The acronym I.E.D. (improvised explosive device), unknown to most until just a few years ago, is now a part of our daily vocabular y. By abstracting what is already distant and foreign, Levinthal brings a new perspective to the discourse about this war, going beyond reality to create a new and perhaps more immediate presence.

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Les FemmeS Du Maroc Photographs by Lalla Essaydi Essay by Fatima Mernissi

“I am a book that has no ending. Each page I write could be the first.”

—Lalla Essaydi

MUslim Portraiture/Women’s Studies/Photography Clothbound, 12.5 x 14.5 inches, 68 pages, 35 four-color photographs

ISBN 978-1-57687-491-2

Haunted by space both actual and metaphorical, remembered and constructed, Lalla Essaydi’s work reaches beyond Islamic culture to invoke the Western fascination with the veil and the harem as expressed in nineteenth-century Orientalist paintings with the odalisque. The world that Western artists encountered in North Africa was suffused with the exquisite beauty of the architecture, the interior décor, and women’s clothing. It is this beauty that Moroccan-born artist Essaydi reclaims in Les Femmes du Maroc, her second powerHouse Book.

$60.00 / Cnd $64.00

Lalla Essaydi received a BFA from Tufts University in 1999 and an MFA from the School of the Museum of Fine Arts, Boston and Tufts University in 2003. Essaydi’s most recent work uses analog photography, but she also works in oil on canvas, mixed media, and video. The author of Converging Territories (powerHouse Books, 2005), Essaydi has exhibited at Edwynn Houk Gallery and Laurence Miller Gallery, New York; Schneider Gallery, Chicago; Howard Yezerski Gallery, Boston; the Fries Museum, the Netherlands; the Art Institute of Chicago; The New Britain Museum of Art; the Columbus Museum of Art; The National Museum of Singapore; and the Danish Center for Culture and Development, Denmark, among others. Essaydi was born in Morocco and currently lives in New York.

Fatima Mernissi is a Moroccan feminist writer and sociologist. She has done research for UNESCO and ILO, published ar ticles on women in Morocco and in Islam at large, and written books including The Veil and the Male Elite: A Feminist Interpretation of Islam (Basic Books, 1992) and Dreams of Trespass: Tales of a Harem Girlhood (Addison-Wesley, 1994).

Essaydi’s work revisits the world of women, suggesting the complexity of feminine identity and the tension between hierarchy and fluidity that are at the heart of Arab culture.

Not simply a critique of either Arab or Western culture, Essaydi’s photography offers a more active, even subversive engagement with cultural patterns to convey her own experience as an Arab woman.

In these images, the text adorning the women’s bodies is partly autobiographical. Essaydi speaks her own thoughts and experiences directly, as a woman caught between the past and present, between East and West, and also as an artist, exploring the language in which to “speak” from this uncertain space. Without specificity of place, the text itself becomes the world of the subjects—their thoughts, speech, clothing, shelter, and nomadic home. However, this text is incomplete.

It involves the viewer as well as the writer in a continual process of reading and revising, of losing and finding in its multiple and discontinuous threads. Similarly, the women in the photographs require multiple visual readings. Both are as elusive as “woman” herself—not simply because she is veiled but because she is still in progress.

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IMPERIAL By

Photography/Documentary STudies Hardcover, 10.5 x 12.75 inches, 200 pages, 200 duotone photographs

ISBN 1-57687-489-9

$55.00 / Cnd $59.00

William T. Vollmann is the author of 17 books, including Europe Central (Viking, 2005), winner of the National Book Award. He has also won the Whiting Writers Award, the PEN Center/USA West Award, and the Strauss Living Award from the American Academy of Ar ts and Letters. He lives in California.

William T. Vollmann

The California–Mexico border is a place with a heavy history and an uncertain future. It is a land of great progress and crushing failure, home to a past that includes migrant workers, Mexican laborers, struggling farmers, corporate exploitation, pollution, the rancid paradise of the Salton Sea, and Mexicali’s underground tunnels which once housed illegal Chinese immigrants, not to mention brothels and gambling dens. In 1901, the Imperial Land Company recognized the area’s soil potential and diverted the waters of the Colorado River to it, transforming desert into productive farmland. The Imperial, Coachella, and Mexicali Valleys have no common name, although in reality they are a single valley which author William T. Vollmann calls “Imperial” in allusion to its three agricultural empires. This place and the people who live there are the subjects of the latest work by Vollman (who will release a companion text volume with Viking in 2009). “It’s an incredible area, teeming with secrets and the tension of the border,” says Vollmann. “It’s that tension that gives the place its meaning.”

Imperial is a study of the margins, familiar territory for its author. Through his exploration, Vollmann uncovers the people and their struggles in a photographic portrait of Imperial’s last decade. Vollmann’s pictures provide a visual identity to those who call it home. They have suffered and flourished amidst a landscape that is both breathtaking and heartbreaking, alluring and repelling.

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THREAD Photographs by Patrick Trefz Introduction by Charles Wehrenberg Preface by Ari Marcopoulos Essay by Christian Beamish

Photographer and filmmaker Patrick Trefz spent more than two years wandering country roads, always in search of the best way to the beach. Thread follows Trefz on his travels from the Basque Country to Steinbeck country, from New York City to West African island nations, scaling fences and hunkering down in the dirt to capture his vision of the visual language of surf culture.

Surfing/Photography Paperback, 10 x 10 inches, 128 pages, 122 four-color and black-and-white photographs

ISBN 978-1-57687-505-6

$29.95 / Cnd $32.00

Patrick Trefz is a longtime staff photographer for Surfer Magazine. He is also a filmmaker, who directed the awardwinning 16mm film on which the book version of Thread is based. He was born in 1970 in Düsseldorf, Germany, and lives and works in Santa Cruz, California.

Charles Wehrenberg is a biochemist, writer and art collector who lives in San Francisco. He is the author of five books, including Mississippi Blue (Twin Palms, 2002).

Ari Marcopoulos began his career in New York City assisting Andy Warhol. In his quarter-century career as a photographer, he has become known for stunning landscapes and playful portraits of artists, musicians, extreme athletes, and other muses.

Christian Beamish is the former associate editor of The Surfer’s Journal, as well as a writer and builder of surfboards and boats.

The book is a study in juxtaposition, particularly between the man-made and the naturally occurring. Freighters in a harbor, arranged like pieces on a game board, are set against the light ruffle of wind on the water. Wheels and gears, line running through an installation like belts in a motor, the extremity of industrial production, are countered by a man and a wave, two products of natural energies. Seen one way, everything is natural, and the question becomes one of degrees of manipulation. Still, the settings in these pictures suggest duality, differing realms—the road and the beach, the train track and the lineup—each element evoking its own associations. Patterned yet non-linear, Thread takes seemingly disparate subjects and gently ties them into a unified whole, finding commonality in devotion and practice.

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World Of WONDERS Photographs by

Jimmy and Dena Katz

Working in brilliant color and with a large-format camera, photographers Jimmy and Dena Katz spent three seasons following the last authentic traveling side show in America to create this elegy to a uniquely American art form.

Their powerful, poignant, and respectful portraits of aging performers and young recruits reveal disappointment, despair, and tenacity played out against the tawdry glitter of the fairground. These images, along with anecdotes and commentary by the performers, are brought together for the first time in World of Wonders.

PHOTOGRAPHY/Midway Studies Hardcover, 11.25 x 13.25 inches, 84 pages, 48 four-color photographs

ISBN 978-1-57687-492-9

$45.00 / Cnd $48.00

Born in New York City, photographer Jimmy Katz spent more than a decade based in Utah as a mountaineer and Nordic skier, photographing the desert and mountainous terrain.

He often contributed photographs and articles to climbing publications about his expeditions and first ski descents in remote areas of the world. Back in New York, he established himself as a well-known music photographer, shooting over 250 recording projects and more than 60 jazz magazine covers. Although he lives in New York City, Katz is still closely connected to the American West, where he often finds inspiration for his personal projects.

Dena Katz was born and educated in Moscow, in the former Soviet Union. She met Jimmy Katz during his expedition to the Soviet Pamir, and their relationship developed after she had climbed the highest peak in Europe. Shortly thereafter, she moved to the United States and pursued post-graduate East Asian studies at Columbia University. She has been a conceptualist and collaborator with Jimmy Katz on a number of photographic projects.

Sword swallowers, fire eaters, freaks, and illusionists have excited generations of Americans. Today, only this one troop persists, led by the legendary Ward Hall and his partner Chris Crist, who mounted multiple extravaganzas for Ringling Brothers more than fifty years ago. As the photographers listened to hard-luck stories and felt the power of hardlived lives, they were moved by these men and women who continue to perform despite changing times and tastes.

The Katzes’ widely acclaimed book about the surreal effects of human action on the salt flats of Utah, Salt Dreams (powerHouse Books, 2006), featured images deemed “spectacular” by New York Times critic Grace Glueck. With this powerful and unsettling new work, Jimmy and Dena Katz continue to explore the postmodern aesthetics of American subcultures.

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SPACESUITS

Within the Collections of the Smithsonian National Air and Space Museum

By Amanda Young Photographs by Mark Avino Introduction by Allan Needell Foreword by Thomas P. Stafford In Association with the Smithsonian National Air and Space Museum

Space Travel/Museum Studies Hardcover, 6.75 x 12 inches, 128 pages, over 100 four-color photographs

ISBN 978-1-57687-498-1

$29.95 / Cnd $32.00

Amanda Young is a museum specialist in Spacesuits and Astronaut Equipment for the Smithsonian National Air and Space Museum. She was responsible for the Air and Space portion of “American Festival Japan ’94”, a major exhibit in Tokyo, and co-wrote the collections care booklet “The Preservation, Storage and Display of Spacesuits.” She was also a contributor to Extreme Textiles: Designing for High Performance (Princeton Architectural Press, 2005) and After Sputnik: 50 Years of the Space Age (Collins, 2007). She continues to conduct research into the causes of spacesuit deterioration.

Mark Avino is the Chief of Photographic Services in the Office of Communications for the National Air and Space Museum. In addition to a wide variety of photography undertaken at the Museum, he has also contributed to numerous publications and books on the museum’s collections, including In the Cockpit: Inside 50 History-Making Aircraft (Collins Design, 2007) and At the Controls: The Smithsonian National Air and Space Museum Book of Cockpits (Boston Mills Press, 2001).

Allan A. Needell is the Curator of Human Space Flight in the Division of Space History at the National Air and Space Museum. He is the author of a study of the career of a major American science administrator, Science, Cold War and the American State: Lloyd V. Berkner and the Balance of Professional Ideals (Routledge, 2000). Needell joined the National Air and Space Museum in 1981 and is currently responsible for the museum’s Apollo space flight collection.

Thomas P. Stafford is a retired Lieutenant General of the U.S. Air Force and a former NASA astronaut. Stafford piloted Gemini VI, the first rendezvous in space (1965), and commanded the Apollo 10 lunar mission (1969) and the historic Apollo-Soyuz Test Project (1975). He is the recipient of many awards in aviation and honorary university degrees.

The goal of landing a man on the Moon and returning him safely to Earth required the development of three things: spacecraft, launch vehicles, and protective clothing. Spacesuits: Within the Collections of the Smithsonian National Air and Space Museum takes the reader through the development of the last category, the spacesuits used during this venture. Highlighting the pressure suits created during the years leading up to the lunar missions and beyond, this book features dramatic photographs of the Smithsonian’s collection, as well as never-before-published historical images of spacesuit development and testing—including range-of-motion studies in which researchers wore spacesuits while playing baseball and football. The book also includes a group of advanced spacesuits, which, though never used on a mission, are in many respects the most exciting suits ever created. One suit glove has steel fingernails and sharkskin pads, in an attempt to harness the abilities of the human hand.

Spacesuits are surprisingly fragile; they are made for a short lifespan in the most extreme of conditions, and longterm survival is not part of their design process. The final chapter touches briefly on the current conditions of historic suits, how they have held up over time, the reasons for their deterioration, and the rewards and difficulties associated with caring for and preserving these very complex and iconic artifacts. From the first spacesuit designs of the 1930s through those worn on the landmark Apollo-Soyuz program of 1975, Spacesuits provides a behind-thescenes look at the history of these remarkable creations, including some that have never before been publicly displayed.

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SPRING 2009

LifeGUard on Duty Photographs by Matt Design by Sam Shahid

Albiani

“To most of us beach bums, lifeguards look like vaunted kings in their wooden castles, lording over both our safety in the waves and our red-shorted nap-time fantasies. But to photographer Matt Albiani, they’re art.”

—The Out Traveler

Photography/Baywatch Boys Hardcover, 10.75 x 13.25 inches, 124 pages, 98 four-color and black-and-white photographs

ISBN 978-1-57687-501-8

$45.00 / Cnd $48.00

Matt Albiani is a New York-based fashion photographer.

Born and bred outside of Boston, Massachusetts, he has shot for a wide range of publications, including Elle, Inter view, Allure, Out, and Vanity Fair. His adver tising roster includes Ralph Lauren, J.Crew, Victoria’s Secret, and Lilly Pulitzer.

Sam Shahid has designed books for Bruce Weber, Herb Ritts, Kelly Klein, Burt Stern, and Ellen Von Unwerth, among many others. He is currently the President and Creative Director of Shahid & Company, the agency responsible for the iconic advertising of companies such as Abercrombie and Fitch, Versace, and Banana Republic.

Matt Albiani built his reputation shooting celebrity portraits and fashion spreads for the likes of Elle and Vanity Fair. For his first book, however, he trained his lens on a different class of beautiful people, one more rugged, less glamorous, and yet unassailably iconic: the American lifeguard. A lifeguard himself in college, Albiani returned to the beaches of the U.S. to wax visual poetic on the golden summer days of his youth. Lifeguard on Duty collects the results of his years of travel across the country, from Oahu, Hawaii to Nantucket, Massachusetts, capturing these brave men in all their strength and solitude. With expressive framing and subtle composition, Albiani creates a unique and elegant portrait of the life of a guard.

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SPRING 2009

News, Nudity & Nonsense Irresponsible Writing for Awkward Youth: The Best of Vice Magazine Volume Two, 2003–2008 By

the Editors of Vice Magazine

The Vice Guide to Sex and Drugs and Rock and Roll was a best-of book culled from everything published in Vice magazine from its inception in 1994 up until 2003. The original manuscript was discovered amidst a verdant glade in a glowing golden box. The first men to gaze upon it had their faces melted off by its brilliance. It rocketed to the tops of best-seller lists and dollar bins. It has been bequeathed in wills from parents to children. It has supplanted Dianetics as the must-have spiritual tome of Hollywood, California. It is truly the book of the ages.

Humor/Popular Culture Hardcover, 7 x 9 inches, 304 pages, 200 four-color and black-and-white photographs

ISBN 978-1-57687-502-5

$18.00 / Cnd $19.50

Vice Magazine started out as a lowly newsprint punk zine in 1994 in Montreal. Now it’s this big, weird, famous, smart and stupid magazine that’s published in 22 (that’s right, fucking 22) countries. We mix real-deal investigative journalism, witty and learned interviews, the best young photographers and artists, and a total global perspective with dick jokes, gratuitous nudity, and questionable opinions on how to live one’s life. Then we fart it all out every month in a magazine that is so good, people get visibly angry and jealous when they touch it. Oh well. That’s their problem.

But all of that is total bullshit compared to the tidal wave of press and accolades that will engulf all of us when we bringeth forth upon the world the second book of greatest hits from Vice Magazine. It is to be called News, Nudity & Nonsense, and will contain enough “wow”-filled reading material to power you through at least a year’s worth of defecations from its inevitable home atop the back of your toilet.

See, here’s the thing about Vice Magazine since 2003: we got even better than we were before. We integrated a newfound interest in the world and the people who live in it with our previous stories of poop and pee. We started doing heavy news stories from all over the planet—real-deal journalism that can stand up next to any mainstream dinosaur of a magazine. We also began to publish a yearly fiction issue, running work by both venerable heroes and kids nobody has heard of yet but everyone will love in a year. Amidst the trademark heartfelt screeds regarding screwing and bodily functions, we published legitimate scoops from places as far flung as Russia, Burma, Appalachia, Antarctica, Pakistan, and New Jersey. We published an issue that was entirely written

by Iraqi citizens living in the midst of the war. We practiced immersive journalism everywhere from poverty-stricken Indian reservations to leper colonies in Nepal. And yet we never stopped keeping up with new music, weird art, and good fashion. How do we pull it off? We don’t know. It’s a mystery.

Ask God, maybe she can tell you.

But seriously folks, we’re really, really proud of the last five years of Vice magazine and, if you have a pulse, this book will knock your socks out the back of your ass. Thanks for your time.

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SPRING 2009

Cocaine Cowboys

An Explicit History of Miami’s Drug Rush By

Billy Corben

and

Alfred Spellman

“…As a chronicle of a demented epoch, [Cocaine Cowboys is] both entertaining and just about definitive.”

—Channel 4 Film “Cocaine Cowboys is the real deal—a down-and-dirty look at the high living and illegal drugs that dominated south Florida in the 1980s.”

—Houston Chronicle

PHOTOGRAPHY/NEW YORK Hardcover, 7 x 9 inches, 288 pages, over 500 four-color and black-and-white photographs

ISBN 978-1-57687-437-0

$35.00 / Cnd $42.00

Billy Corben and his producing partner, Alfred Spellman, formed their first production company in 1994 while they were sophomores in high school. Their first feature documentary, Raw Deal: A Question of Consent, premiered at the 2001 Sundance Film Festival to an avalanche of controversy and critical acclaim. Shortly thereafter they formed the Miami-based production company rakontur and produced the critically acclaimed and highly successful documentary Cocaine Cowboys and its sequel, Cocaine Cowboys 2. They are currently developing an animated series for Adult Swim and a feature documentary for ESPN, in addition to a television drama based on Cocaine Cowboys.

A lavishly illustrated companion to the acclaimed hit documentary of the same name, Cocaine Cowboys: An Explicit History of Miami’s Drug Rush is the definitive document of Miami’s cocaine wars during the flamboyant and ultimately tragic 1970s and 1980s, utilizing never-before-seen photographs, government documents, first-person accounts, and newspaper archives.

The film Cocaine Cowboys and its sequel, Cocaine Cowboys 2: Hustlin’ with the Godmother, have garnered a massive following over the past three years, with over 125,000 DVDs of the original film sold to date. Numerous dramatic storylines tell the unflinching story of how Miami became the cocaine capital of the United States, and how the drug trade left its indelible mark on the city. Smugglers and distributors forever changed what was once a sleepy retirement community into one of the world’s most glamorous hotspots, the epicenter of a $20 billion annual business fed by Colombia’s Medellín cartel. By the early 80s, Miami’s homicide rate had tripled, making it the murder capital of the country and inspiring a Time magazine cover story that dubbed the city “Paradise Lost.” Cocaine Cowboys is currently being adapted into a feature film starring Mark Wahlberg and Leonardo DiCaprio, and separately developed as an original HBO series by Michael Bay and Jerry Bruckheimer.

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BUSTED Issue 5

Remember when you got grounded in 10th grade for coming home drunk and vomiting on the dog? Or the time you got caught selling fake ecstasy and were escorted out of that after-hours dive? Or how about the time your girlfriend got your password and broke into your Gmail account, only to discover you had an online honey? Man, if you had a dollar for every time you got busted, you’d be able to post bail right about now.

Photograph by Geordie Wood

To celebrate all that goes wrong when you’re up to no good, powerHouse Magazine introduces Issue 5: Busted, a sometimes serious, often hilarious look at failure and fiasco from around the globe. From manhunts to masturbation, friendly fire to robbing the mafia, trespassing to parking-lot madness, Busted promises the most eclectic mix of nogoodniks, anarchists, and frisky kids ever caught between two covers.

Photography/ART/WATCH OUT! Paperback, 8.25 x 11 inches, 120 pages, 100 black-and-white and four-color images

Photograph by JR

ISBN 978-1-57687-496-7

Artwork by Matthew Charles Crabbe

$10.00 / Cnd $12.00

Photograph by Deborah Dragon

Featuring the work of Keiji Ando, Patti Astor, Basty, Orkan Benli, Nora Bibel, Boogie, Nathan Brown, Negri Cabrini, Nicola Cairns, COPE2, Matthew Charles Crabe, Raphaël Dallaporta, DJ Disco Wiz, Deborah Dragon, Meiko Elias, Michael Ellsberg, Ron English, Derek Erdman, Larry Fink, Yoav Galai, Jesse Gammage, Samantha Gainsborough, Michael Gonzales, Griddy Grimes, Roc Herms Pont, Steven Hirsch, Pinch Hudson, James Hughes, Idris Intifada, JR, Musa Kart, John Lurie, Narayan Mahon, Brantly Martin, Craig Mathis, Sarah McNeill, MISTA KGKASS, Caleb Neelon, the New York Daily News, NOV as Loucious Broadway, ONE 9, Mark Peterson, Mia Petzall, Joseph Rivera, Joseph Rodríguez, Christophe Salet, Ivan Sanchez, Colin Simmons, Todd Solomon, Lila Szasz, Hank Willis Thomas, Maureen Valdes, Nathaniel Welch, Geordie Wood, Wooz, Meiko Xavier, and Joy Yoon.

Artwork by Nicola Cairns

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The Other Half Of the Sky Photographs by Lili Almog Essay by Richard Vine

Over the past two years, Lili Almog has photographed minority women in the countryside, small cities, and villages of China. In her second powerHouse monograph, The Other Half of the Sky, Almog examines these women at a time when the demands of rapid growth and a sweeping desire for modernity is encroaching upon the traditions and values that have sustained their cultures as intact microcosms in the larger picture of China for centuries. Almog focuses on minority women, with an emphasis on the extraordinary situation of Muslim women in China, as well as the Mosuo women, a unique ethnic minority living within the boundaries of western China and one of the last matriarchal societies existing in the world.

Photography/China/Women’s Studies Hardcover, 9 x 12.5 inches, 136 pages, 70 four-color photographs

ISBN 978-1-57687-499-8

$45.00 / Cnd $48.00

Lili Almog has exhibited in solo and group shows at Tel Aviv Museum of Art; SF MoMA; the Herzliya Museum of Contemporary Art, Israel; the Alternative Museum, New York; Griffin Museum, Massachusetts; Ffotogallery, UK; Museet for Fotokunst, Denmark; Museé de la Photographie, Belgium; Andrea Meislin Gallery, New York; and Photographers’ Place, London, among others. Almog’s work is included in the collections of the SF MoMA, the Victoria and Albert Museum, The Museum of Fine Arts, Houston, Museé de la Photographie, Belgium, and Museet for Fotokunst, Denmark, as well as in numerous private collections. Almog released her first monograph, Perfect Intimacy, with powerHouse Books in 2006.

Richard Vine is a senior editor at Art in America, where he writes frequently on contemporary art. He holds a PhD in literature from the University of Chicago and has served as editor-in-chief of the Chicago Review and Dialogue: An Art Journal. He has taught at the School of the Art Institute of Chicago and other institutions, and his articles have appeared in numerous journals, art catalogs, and critical compendiums. He is the author of Odd Nerdrum: Paintings, Sketches, and Drawings (Gyldendal/D.A.P. in 2001) and New China, New Art (Prestel, 2008).

The images in The Other Half of the Sky reflect how the communist revolution, with its vision of the nobility of physical labor and emphasis on gender equality, left its mark on women’s and personal identity in a changing China. The book tells the story of the women of today’s China, of their individualism in their domestic and work environments, and of minority women that have only recently been exposed to modernity. Given the nature of today’s Chinese society and the conflict between the private self and society, The Other Half of the Sky presents a portrait of the public female representation as a challenge to express the dignity and heroism of the private, intimate female self.

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1.3

Images from My Phone By

Joel Grey

“Whenever I see something I don’t quite understand—a shape, a color, an odd juxtaposition of the real and the abstract—nine times out of ten, it’s my reason for taking a photograph. For me, taking pictures is like asking questions.”

—Joel Grey On an out-of-town trip in 2007, Joel Grey found himself in a small St. Lucie, Florida museum, filled with bizarre and eminently photographable objects. Feeling, as he had with the images that became 2003’s Pictures I Had to Take, compelled to capture these provocative tableaux, but without his trusty Nikon Nikkormat by his side, Grey did the next-best thing he could: he reached for his cell phone.

Photography/Cell Phone Art Hardcover, 8.25 x 10.25 inches, 120 pages, 103 four-color photographs

ISBN 978-1-57687-485-1

$39.95 / Cnd $42.95

Joel Grey is best known for his extensive work in the theater and on film. A Tony and Academy Award-winning actor, he is also the author of the powerHouse monograph Pictures I Had to Take (powerHouse Books, 2003). He lives and works in New York City.

Grey had never had any use for the camera function of his Nokia 133 before, and was skeptical about the capabilities of its tiny 1.3-megapixel lens. But to his surprise, the same familiar perspective he’d always had when taking photographs was still there; even without a viewfinder, he could make the kinds of pictures he had always loved to make. The limitations of the format—the inability to control the aperture stop, focus, or any of the other variables of traditional photography besides framing—proved a thrilling new challenge, which Grey likens to “collaborating with a power larger than yourself.” Grey spent the next eight months shooting with his phone, and the result is 1.3: Images from My Phone, a collection of slices cut from diverse visual worlds: street art and still life, advertising and architecture, shadows and reflections, natural beauty and urban grit.

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Three Photographs by Ed Kashi Essay by Alison Nordström

ART/PHOTOGRAPHY Clothbound with tip-on, 11.25 x 8.25 inches, 162 pages with 16 gatefolds, 87 four-color and black-and-white photographs

ISBN 978-1-57687-461-5

$45.00 / Cnd $48.00

Ed Kashi is an internationally recognized photographer who has received numerous awards, including an NEA grant and the World Press and Pictures of the Year competitions. His book When The Borders Bleed: The Struggle of the Kurds (Pantheon, 1994) was the result of his cover story for National Geographic. The author of Aging in America: The Years Ahead and Curse of The Black Gold: 50 Years of Oil in the Niger Delta (powerHouse Books, 2003 and 2008), Kashi has also published his work in The New York Times Magazine, Time, Fortune, Newsweek, and American Photo, among others. He lives in New Jersey.

Alison Nordström is the Curator of Photographs at George Eastman House International Museum of Photography and Film in Rochester, New York. Previously the Director and Senior Curator of the Southeast Museum of Photography in Daytona Beach, Florida, she has curated over 100 photographic exhibitions and is the author of several monographs as well as numerous articles in scholarly journals. Nordström holds a BA in English Literature, an MLS with museum emphasis, and a PhD in Cultural and Visual Studies.

In a world inundated by visual imagery, our ability to take in more than one image at a time has become innate. In fact, our attention span demands it. Three, a book of triptychs by acclaimed photographer Ed Kashi, plays on the visual appetite of a hectic world. These triptychs span eras and continents, challenging our notions of perspective and the individual image. Contained in a format dating back to Christian art in the Middle Ages, Kashi’s images examine current issues of social and political significance, bringing together the joy, sorrow, destruction, and reconstruction of a world in flux. They compel us to see the relationships between extreme ends of the human experience and to appreciate the strange beauty inherent in that experience.

The grouping of photographs in Three is deliberate and provocative, asking us to read not only the individual photographs but their cumulative stories. The triptychs defy the confines of any single frame by presenting them in a lyrical, dynamic context, exploring the intersecting points when decisive moments converge, and opening a dialogue between images. A celebration of the language of photography, Kashi’s work layers color, form, and content, while allowing time to pass in the course of three images and offering multiple screens to order the chaos that surrounds us.

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AFFINITY OF FORM Photographs by

Stanford Lipsey

“Some photographers take their pictures; others make them.

Neither notion seems right in describing Stanford Lipsey’s work, however, for the spirit behind these pictures is one of natural discovery, something that comes before process.”

—Anthony Bannon, Director of Eastman House

PHOTOGRAPHY/Art Hardcover, 12.75 x 9.75 inches, 112 pages, 100 four-color photographs

ISBN 978-1-57687-459-2

$39.95 / Cnd $42.95

Stanford Lipsey began his photography career as a photographer for his high school newspaper. He graduated from the University of Michigan, where he was a photographer for The Michigan Daily and photo editor of the university yearbook. His first professional position was as a photojournalist for the Sun Newspapers in Omaha, Nebraska.

He went on to become the paper’s editor, publisher, and owner, before selling it to Warren Buffett. In 1973, Buffett, Lipsey, and Paul Williams won a Pulitzer Prize for a financial exposé of Boys Town. Lipsey has been the publisher of The Buffalo News for the past 25 years. He has had nine exhibitions in museums and galleries, and provided the photography for the book Forest Lawn Cemetery: Buffalo History Preserved (Forest Lawn Heritage Foundation, 1996).

Stanford Lipsey’s passion for fine art photography began in Aspen, Colorado 30 years ago with the sight of a simple pine cone through a macro lens. Ever since this revelatory moment, Lipsey has dedicated himself to revealing simple truths and a visual language of the natural world hidden around us. Whether it be cloud formations in an azure sky, light ripples in shimmering water, a dense pine forest, gentle ice crystals, or austere glass architecture, Lipsey’s photographs suggest a sense of the inexplicable universal links that bond the elements and matter.

Affinity of Form, Lipsey’s first monograph, brings that vision to bear on a wide array of commonplace subjects from our everyday world. In the vein of Aaron Siskind, Lipsey’s camera fixes frequently on surfaces, abstracting them in such a way that they become visual objects unto themselves, independent of their sources and newly compelling. Other images take a longer view, allowing monumental structures, both natural and man-made, to revert to basic shapes. A newspaperman by profession, Lipsey draws on a long-honed ability to capture events at precisely the right moment—in this case, the moment when mundane objects cease to be themselves, transforming within the frame into something far more artful and mysterious. “I’m rather eclectic in what I shoot,” he says, “but all forms of nature, abstracts, and architecture inspire me to create imagery that escapes the naked eye.”

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WATERCOLOuRS Photographs by

Kevin Lynch

For the follow-up to his massive ultimate fighting opus Octagon ™ (powerHouse Books, 2007), photographer Kevin Lynch turned his focus away from the bright lights and brutality of the mixed martial arts world, and toward a far more personal subject. Watercolours is a collaboration between Lynch and his wife Hillar y, a series of abstracted nudes taken in the swimming pool of their California home that transform the human figure into twisting ribbons of color and brilliant bursts of light.

Photography/Art Hardcover, 12.25 x 10.25 inches, 108 pages, 70 four-color photographs

ISBN 978-1-57687-493-6

$45.00 / Cnd $48.00

Kevin Lynch is internationally recognized for his growing portfolio of conceptual portraiture. At turns graphic, glamorous, and graceful, Lynch’s celebrity, fashion, advertising, and fine art images have appeared in museums and galleries throughout Europe and the United States.

In creating these images, Lynch decided to forgo his usual high-resolution digital camera and elaborate lighting setup in favor of tools more classic and familiar: a 35 mm camera, low shutter speeds, and the pool light as the only source of illumination. As a result, the stark, unsparing detail that defined Octagon ™ gives way to a fluid softness and a palpable air of tenderness and love. Watercolours trades the gritty realism of the artist’s past work for an impressionistic gaze that betrays passionate emotion and a painter’s eye.

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PREVIOUSLY ANNOUNCED 44

SPRING 2009

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DOs & DON’Ts 2

A Couple Thousand More Zings, Burns and Riffs from the Pages of Vice Magazine By

www.powerHouseBooks.com

powerHouse Limited Editions

FOR ART COLLECTORS ONLY

the Editors of Vice Magazine

Behold, at long last, the eagerly awaited sequel to the highly successful DOs & DON’Ts: 10 Years of Vice Magazine’s Street Fashion Critiques. Having sold over 35,000 copies of the first book and garnered a devoted following, the series rewards patient fans by delivering nearly twice has many searing, hilarious entries in its second installment, DOs & DON’Ts 2: A Couple Thousand More Zings, Burns and Riffs from the Pages of Vice Magazine.

Humor/Popular Culture Paperback, 7 x 9 inches, 288 pages, 1,000 four-color photographs

ISBN 978-1-57687-409-7

$20.00 / Cnd $21.50

Vice Magazine started out as a lowly newsprint punk zine in 1994 in Montreal. Now it’s this big, weird, famous, smart and stupid magazine that’s published in 22 (that’s right, fucking 22) countries. DOs & DON’Ts is the most well-known feature in Vice. It’s this monthly thing where we either rip on people’s clothes or praise strangers for being physically attractive. It’s pretty shallow and disgusting of us, but it’s also really funny.

So there you go.

Vice’s DOs & DON’Ts column started out as a way to appease clothing advertisers that were discouraged by the magazine’s former lack of fashion content. The feature snowballed completely out of control and became a planet, nay, a brand, nay, a species all its own. Nowdays it is routinely ripped out of the magazine and taped to walls so that faithful readers may congregate to riff about their favorite D&Ds at parties, bars, offices, and bathhouses.

The New York Times has heralded the column as “genius,” The Onion cackles “spot-on,” and Maxim lisps that it’s “impossible to put down.”

How such ridiculous fashion commentary grew to be so popular is a complete mystery to everyone involved, but hey, who are we to judge? This second book of all-new entries is likely to quench America’s DOs & DON’Ts thirst for at least a week.

DON’Ts

But That’s Another Story Edition of Seventy-Five

Includes a handmade clamshell box housing three signed and numbered 16 x 20 inch archival prints, a letter of authenticity, and a signed and numbered copy of the book.

A Photographic Retrospective of Milton H. Greene ISBN 978-1-57687-476-9

$1,500

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The Gospel of Hip Hop

194(#

“Mr. Parker’s victory was the result of several components, including his understanding of rap as a live medium, his own personality and his smart use of technology. His ability, honed in live performance, matched his intent, which was to communicate clearly.

He has positioned himself as the intellectual rapper, someone who has figured out the nuances of race, poverty and class in the United States…. Mr. Parker has said in print that he’s more interested in provoking examination than anything else; one of his raps was ‘Organize, realize and unhypnotize,’ a call for self-help in the black community and an examination of stereotypes.”

—The New York Times

/ It’s just begun

194(# “Casanova Fly and the Disco Wiz, that was us. After our lives were divided by circumstance I stuck fast to the Hip Hop route I was sure would eventually bring me fame and glory as we used to say. I went through many different line-ups after finally settling in with the Cold Crush Brothers. I had reached that status that Wiz and I sought and fought for but without my original partner.

I’d like to think I’ve carried a part of him with me throughout my journey. This book should shed some light on Wiz as a person, father, husband, friend, cancer survivor, and pioneer of Hip Hop.” —Grandmaster Caz

/ pillage

194(# “At 11 that night, I was given an earpiece, a sleeve microphone, a clipboard, two giant bodyguards and a stack of tickets: $20, $10 and comp, which I could give out at will. I was assisted by doorman Brantly Martin, 23, whose only advice in evaluating women was to turn away trashy ones. When I pressed him, he explained, ‘No fake breasts.’ This whole beautiful-people thing, I was learning, is highly subjective. When I asked him if a group of women in line met his qualifications, he shook his head and said, ‘Look at shoes. You can always tell by the shoes.’ I was starting to wonder about Brantly.”

—TIME Magazine

/ vandal squad

194(# “Like anyone in the graffiti world, active members of the Vandal Squad became just as addicted to graffiti as the vandals themselves. Spending so much time reading tags, taking complaints, and tracking down vandals at all hours of the day and night, I was constantly thinking of new ways to apprehend them: undercover operations, stakeouts, searches—you name it, they were on it. By the time I retired in 2004, I could place any face with its tag name

based on the intelligence I had gathered on them over the years. I could tell you if the writer was black, white, or Hispanic, male or female, middle or lower class, and where they were from. Just by looking at a tag.”

— Joe Rivera

/

Callas Kissed Me…Lenny too!

194(#

“John Gruen lives uptown with wife and child. John Gruen dresses at times with an Edwardian sense of style. John Gruen loves celebrities and parties and his own idea of a good time. John Gruen is stylish. John Gruen writes about his friends because they fascinate him.”

—The Village Voice

/ Walker’s Way

194(# “Walker Evans’ compelling images of Americans and American life convey masterfully the poetic resonance of the ordinary as transformed by a personal artistic vision. With keen intellect, astounding visual acuity, and superb technical skill, he captured for us the very text and texture of twentieth-century America.”

—Philippe de Montebello, Director, The Metropolitan Museum of Art

/ Like A Thief’s Dream

194(#

On The Destruction of Lower Manhattan: “What is striking about Mr. Lyon’s images, though, is their refusal to tug at the emotions, as so many other photos of obsolescent architecture have tended to do. Like hulking creatures prepared to sacrifice, the buildings announce themselves with a proud dignity and unsettling quietude.”

—The New York Times

/ Lovemarks

194(# “Love is central to our lives. So why are we desperate to keep it out of business? And yet, when I put love and business together, why do eyes always start to shine?… Business in a tough, see-through world is about relationships, not transactions. The most powerful relationships are founded on the deepest emotional connections.

Love cuts through the clutter. It goes where we take it, defying convention and classification. That reality extends to the veil between personal and commercial relationships. Invest love in business and you connect a company with its people, its brands and its customers. You cultivate enduring relationships that provide the highest return on investment imaginable—Loyalty Beyond Reason.

—Kevin Roberts

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The Gospel of Hip Hop The First Instrument By

91

19

It’s Just Begun The Epic Journey of DJ Disco Wiz, Hip Hop’s First Latino DJ

KRS-One

By

KRS-One is a philosopher, activist, author, lecturer, and MC. Since founding canonical hip hop act Boogie Down Productions in the mid-1980s, he has released a granite-solid catalog of 19 full-length albums. An accomplished public speaker who has delivered lectures at over 500 colleges, universities, and other venues, KRS-One is also the author of The Science of Rap (1995) and Ruminations (Welcome Rain, 2003).

Hip Hop philosophy/ SpIrituality/Self-Help Hardcover, 5.75 x 8.75 inches, 648 pages

ISBN 978-1-57687-497-4 $24.95 / Cnd $26.95

Committed to fervently promoting self-reliance, dedicated study, peace, unity, and truth, The Teacha has drawn both criticism and worship from within and from outside of Hip Hop Kulture. In this beautifully written, inspiring book, KRS-One shines the light of truth, from his own empirical research over a 14-year period, into the fascinating world of Hip Hop.

19

By

Brantly Martin

91

19

Vandal Squad Inside the New York City Transit Police Department, 1984–2004 By

Ivan Sanchez and Luis “DJ Disco Wiz” Cedeño

The Gospel of Hip Hop: The First Instrument, the first book from the I Am Hip Hop imprint set for launch in Spring 2009, is the philosophical masterwork of KRS-One. Set in the format of the Christian Bible, this 600-plus-page opus is a life-guide manual for members of Hip Hop Culture, or “Kulture” as KRS-One defines it, that combines classic philosophy with faith and practical knowledge for a fascinating, in-depth exploration of Hip Hop as a life path. Known as “The Teacha,” KRSOne developed his unique outlook as a homeless teen in Brooklyn, engaging his philosophy of self-creation to become one of the most respected emcees in Hip Hop history. Respected as Hip Hop’s true steward, KRS-One painstakingly details the development of the culture and the ways in which we, as “Hiphoppas,” can and should preserve its future.

The Teacha also discusses the origins of Hip Hop Kulture and relays specific instances in history wherein one can discover the same spirit and ideas that are at the core of Hip Hop’s current manifestation. He explains Hip Hop down to the actual meaning and linguistic history of the words “hip” and “hop,” and describes the ways in which Hiphoppas can change their current circumstances to create a future that incorporates Health, Love, Awareness, and Wealth (H-LAW).

91

Pillage

“If there are words to describe DJ Disco Wiz they would be ‘true survivor,’ born in a time when war and injustice was the state of America. This book is a mustread for all fathers, mothers, sons, daughters, and educators alike, so that one may understand the pain that so many young people born in harsh conditions have to endure.”

—Jamel Shabazz

Hip Hop/Memoir/A Bronx Tale Hardcover, 7.25 x 9.25 inches, 200 pages, 50 fourcolor photographs

ISBN 978-1-57687-494-3 $22.95 / Cnd $24.95

Luis “DJ Disco Wiz” Cedeño, the first Latino hip hop DJ, is credited for being the first DJ to make a “mixed plate” in 1977 along with Grandmaster Caz. Wiz was a major contributor in the opening of the Experience Music Project in Seattle in 2000, and was instrumental in the making of Jim Fricke and Charlie Ahearn’s Yes Yes Y’all.

Ivan Sanchez is the author of Next Stop: Growing up Wild Style in the Bronx (Simon & Schuster, 2008), and was awarded the National Novel honors for his first fiction offering in 2004. He is currently developing a TV series based on Next Stop, with the help of April Lee Hernandez.

Half Cuban, half Puerto Rican, Luis “DJ Disco Wiz” Cedeño is 100 percent Boogie Down Bronx. Born in the 60s, Wiz struggled in a turbulent and violent relationship with his alcoholic father while trying to protect his mother who was suffering from breast cancer. Raised in the 70s, Wiz learned the code of the streets while hustling with his crew, the East Side Boys. In 1975, Wiz discovered salvation when he hooked up with the legendary Grandmaster Caz to form the Mighty Force Crew, waging some of the biggest DJ battles in the Bronx during hip hop’s earliest years.

When hip hop first hit, the deejay was king. Rockin’ the party on two turntables for the b-boys and fly girls on the dance floor, DJs like Kool Herc, Afrika Bambaataa, and Grandmaster Flash pioneered an art form that has come to define our times. The first Latino DJ in the game, Wiz, along with Caz, went on to make a “mixed plate” in 1977 which combined sound bites, special effects, and paused beats. An innovator, originator, and battle-style DJ with no fear, Wiz swept through the Bronx like a tornado.

But the streets wouldn’t leave him in peace. After being convicted on an attempted murder charge, sentenced to nine years in prison, and forced to leave his baby daughter, Wiz was incarcerated upstate at the tender age of 17, where he learned the true meaning of desperation. But as time went on and he overcame his struggles with violence, drugs and alcohol, and women, Wiz eventually liberated himself from the path of self-destruction through love, selfrespect, and self-determination.

It’s Just Begun: The Epic Journey of DJ Disco Wiz, Hip Hop’s First Latino DJ is a gritty and gripping tale of one man’s struggles to not only survive, but to triumph over adversity and abuse that will make your blood run cold. By conquering unimaginable obstacles, Wiz offers inspiration to anyone who has ever wondered, “Why me?”

Founded in 1980, the Vandal Squad’s mission was to protect the subway system from hardcore criminal acts of destruction like kicking out windows and throwing seats out of train cars. It was only with the Clean Car Program of 1984 that graffiti became the primary focus of this specialized unit. On a mission to catch those who gained fame under tag names, the Vandal Squad had to identify and locate these individuals cloaked in anonymity (and often so transient they were referred as “ghosts”) using every means available, including the NYPD computer database, search warrants, subpoenas, and even vandals themselves.

The love child of Charles Bukowski and Bret Easton Ellis, Brantly Martin provides a brutal yet hilarious look at the lives of Manhattan’s downtown elite at the dawn of the new millennium in Pillage, his first novel.

Fiction/Junkie Lit/Creatures of the Night Paperback, 6 x 8 inches, 208 pages

ISBN 978 -1-57687- 495-0 $14.95 / Cnd $16.00

Brantly Martin has been working in New York City nightlife for the past eight years, hosting weekly parties at various downtown Manhattan venues. He was born in Houston and now lives in Rome.

Detailing the decadent descent of Cracula and his crew, Martin lures us into the shadowy ambiguities of addiction—a world where desire meets destruction and the perversity of this pathos is often laughable. Be it urban wildebeest Aeronymous, the wigga with a taste for BAPE sweaters and iced coffees; the Fireman, the overgrown adolescent who knows the quickest way to your ex-girlfriend’s bed; or the Reverend, who rejected the sins of his brothers to save the Africans from themselves, the entitled creatures of this novel plunder what remains of a once-vibrant culture and reap the spoils of our languorous generation.

Between eight balls of cocaine and pints of Patrón, Cracula fluctuates between reality and fantasy, hyper-aware of the façades, formulas, and falsehoods that encircle his existence, but unable to gain an advantage.

Pillage reveals the inherent hypocrisy of America’s social and economic achievements, as they are made manifest in the city that never sleeps, slyly implying that triumph is a trap in itself—and the only way out? Just ask Kurt Cobain…

Author Photo by Billy & Hells

Joseph Rivera

Graffiti writers have left a vivid trail and told their spellbinding tales the world over in countless books and magazines, films and videos, websites and events. They have shared stories of war and glory, of battles and triumphs, and have the pictures to prove it. But many have gone down for those ups; they’ve been caught in action or hunted as criminals, and brought forth to answer for crimes of vandalism. They’ve copped pleas or pleaded guilty outright; they’ve been sentenced to do community service, to pay fines, and sometimes even to serve jail time—yet more often than not they got right back in action. No one knew this better than the New York City Transit Police Vandal Squad.

“In the United States of Amoeba, Amoebans have always been ready to judge who is an Amoeban and who isn’t. First generation have always been looked at as outsiders, immigrants, scum. Islanders, being the brains of Amoeba, take this even further. To them I will always be an immigrant. Not just an immigrant, a Mexican. Spic. Wetback. If the Natives had their way the GW, Williamsburg, and Brooklyn would be drawbridges. The Lincoln and Midtown blown up. They are forced to accept the notion of coexistence, but are always quick on the trigger of subtle reminding. I grew up here son or back in the day. Yeah, and forever shall you stay here. Son. Your island, your prison. Without your tired-ass references, what the hell have you got?

Alcatraz east. And when a Native dares leave the Island don’t think they go five goddamn minutes without letting all comers know their derivation. If it isn’t back in the day it’s some uptown Native dropping private school names.

To them I am forever a Mexican. Fucking bring it.”

—Brantly Martin, Pillage

“It’s Just Begun has opened my mind up to so much more about hip hop history than I could’ve imagined, and is a sure-fire tool to help younger generations understand the volatile 70s decade in all its mess and glory.

DJ Disco Wiz represents for all Latinos who have ever grabbed a set of headphones since. Estoy tan orgulloso de él.”

—Bobbito Garcia

91

Graffiti/New York City/Criminal MInds Hardcover, 7.25 x 10.75 inches, 168 pages, 110 fourcolor photographs

ISBN 978-1-57687-466-0 $35.00 / Cnd $37.50

Joseph Rivera was born and raised in the Bronx.

He joined the New York City Transit Police Department in 1984, and was assigned to the elite Transit Squad in 1987. Rivera became the lead investigator of the Graffiti Habitual Offender Suppression Team (G.H.O.S.T.) within the Vandal Squad in 1998. The recipient of many commendations for outstanding merit throughout a 20-year law enforcement career, Rivera retired in 2004.

In Vandal Squad: Inside the New York City Transit Police Department, 1984–2004, former member Officer Joseph Rivera recounts the days and nights spent in pursuit of some of New York City’s most notorious vandals. The only book on graffiti told from the perspective of law enforcement, Vandal Squad takes us inside the New York Police Department. Rivera’s fast-paced tales of cat and mouse are presented alongside professional disregard within the Department. Featuring never-before-seen photographs and stories of graffiti’s infamous Top 40, Vandal Squad offers an unprecedented look at the graffiti world from the other side of the game.

Dear Diary

TITLE

WRITER

ISBN

By Lesley Arfin Introduction by Chloë Sevigny

50 PHOTOGRAPHS

Patti Smith

By John Gruen

9-INCH DIET, THE

Alex Bogusky, Chuck Porter

ANGRY WOMEN ANGRY WOMEN IN ROCK

A Critic’s Memoir

Hardcover, 7 x 9.5 inches, 376 pages, 100 four-color and black-and-white photographs

ISBN 978-1-57687-424-0 $29.95 / Cnd $32.00

memoir/teen/recovery Hardcover, 5.625 x 8 inches, 288 pages, 20 four color photographs

ISBN 978-1-57687-383-0 $20.00 / Cnd $21.50

189

1894

My Years with Walker Evans

1894

Paperback, 5.5 x 8.25 inches, 288 pages, 100 four-color photographs throughout

189

1894

Though Skinema puportedly “reviews” over 150 pornos, author Chris Nieratko hardly ever mentions them, focusing instead on the pill-popping exploits he’s documented unapologetically over the past seven years in his column for Vice Magazine—much to his editors’ chagrin. As Johnny Knoxville so succinctly put it, Nieratko is an asshole, but whether Chris is rescuing a stalker from choking on her own vomit, getting his nose broken for having AIDS (he doesn’t), or marrying the one woman that could put up with his insanity, his life sounds so much like a collection of hilarious bar stories it’s impossible not to grab a beer and listen to the whole thing.

True Crime/Memoir Hardcover, 6.25 x 9.25 inches, 200 pages, 20 duotone and four-color photographs

ISBN 978-1-57687-361-8 $29.95 / Cnd $32.00

ISBN 978-1-57687-270-3 $27.50 / Cnd $29.50

Andrea Juno

9781890451059 $18.99/$20.50C

Andrea Juno

9780965104203 $19.95/$21.00C

LOVEMARKS The Future Beyond Brands

Kevin Roberts

9781576872703 $27.50/$29.50C

ANNA GASKELL

Thom Jones

9781576870693 $49.95/$53.50C

LOVEMARKS EFFECT, THE

Kevin Roberts

9781576872673 $29.95/$32.00C

BABIES, THE

Susan Sontag

9781576870839 $50.00/$53.50C

MARIPOLARAMA

Glenn O’Brien

9781576872727 $29.95/$32.00C

NEW YORK SEPTEMBER 11

David Halberstam

9781576871300 $29.95/$32.00C

NYC GO-GO

Bruce Benderson

9781576874431 $35.00/$37.50C

OCTAGON

Dave Hickey

9781576873700

ORIENTALIA Sex in Asia

Tracy Quan

9781576871867 $50.00/$53.50C

PEARL

Vincent Katz

9781576870167 $30.00/$32.00C

PHIL STERN A Life’s Work

Patricia Bosworth, Nat Hentoff, Herbert Mitgang

BOB FLANAGAN Supermasochist Andrea Juno

9781890451097 $16.99/$18.50C

BODIES OF SUBVERSION

A Secret History of Women and Tattoo Margot Mifflin

9781890451103 $23.95/$25.95C

BOXING

9781576870082 $49.95/$53.50C

Bert Sugar

Samuel R. Delany, Mia Wolff 9781890451028

$14.99/$16.00C

BROOKLYN KINGS New York City’s Black Bikers Greg Tate

9781576870440 $50.00/$53.50C

CROSSTOWN

Francine Prose

9781576871034

CYPHER

Jeff Chang

9781576874561 $35.00/$37.50C

An Imaginary Tale of Southampton’s Iconic Shrub Sir Harold Evans

9781576872062 $95.00/$102.00C

PROVOCATIONS

John Coplans

9781576871249 $12.95/$13.95C

9780965104289 $24.95/$26.95C

Ricky Powell Photographs 1985–2005 Glenn O’Brien

9781576872611 $35.00/$37.50C

$950.00

PUBLIC ACCESS

RE/SEARCH GUIDE TO BODILY FLUIDS, THE

Paul Spinrad

9781890451042 $15.99/$17.50C

DISCO YEARS

Anthony Haden-Guest

9781576873250 $65.00/$70.00C

RED LIGHT

James Ridgeway

9781576870006 $39.95/$42.95C

EAST SIDE STORIES

Rubén Martínez

9781576870723 $24.95/$26.95C

SEX, STUPIDITY AND GREED

Ian Grey

9780965104272 $15.95/$17.00C

EATING THE ANGUS DIET

Dr. Angus

9781576873199

SISOMO

Kevin Roberts

9781576872680 $19.95/$21.00C

ENDURING JUSTICE

Norman Mailer

9781576871027 $45.00/$48.00C

so80s

A Photographic Diary of a Decade Jay McInerney

9781576871874 $80.00/$86.00C

Sex in Mexico City

Rubén Martínez

9781576873106 $35.00/$37.00C

STATES

9781576870570 $75.00/$80.00C

FREAKS

Daniel P. Mannix

9780965104258 $15.99/$17.50C

TEMPLE OF CONFESSIONS

HERE AND THERE

Adam Gopnik

9781576871652 $40.00/$42.95C

Garry Trudeau

9781576874523 $39.95/$42.95C

Richard Hell

9781576870822

FLESH LIFE

Craftswomen Changing the World

$15.95/17.00C

$24.95

9781576874752 $29.95/$32.00C

Paola Gianturco, Toby Tuttle, Alice Walker

9781576871843 $35.00/$37.50C

IN PRISON AIR The Cells of Holmesburg Prison John Szarkowski

9781576872574 $45.00/$48.00C

IN SEARCH OF HOPE

9781576874226 $39.95/$42.95C

Mariane Pearl

INCREDIBLY STRANGE MUSIC Andrea Juno, V. Vale

9780940642218 $17.99/$19.50C

IRAQ The Space Between

Jon Lee Anderson

9781576874004 $35.00/$37.50C

JEREMIAH

Edward Albee

9781576873533 $85.00/$91.00C

Douglas Coupland

Mexican Beasts and Living Santos Guillermo Gómez-Peña, Roberto Sifuentes 9781576870044 $29.95/$32.00C

THERE IS NO EYE (paperback) Greil Marcus

9781576871713 $29.95/$32.50C

TOO FAST FOR LOVE Heavy Metal Portraits

Chuck Klosterman

9781576872154 $35.00/$37.50C

TORTURE GARDEN, THE

Octave Mirbeau

9780965104265 $13.99/$14.95C

TRANSCULTURALISM

How the World Is Coming Together Claude Grunitzky

U.F.O.

presents

The W ritten Word

9781576871881 $100.00/$107.00

PRIVET LIVES

9781890451035 $24.99/$26.95C

IN HER HANDS

—Tom Peters

$2500.00

Katharine Gates

HOUSE CALLS WITH WILLIAM CARLOS WILLIAMS, MD Robert Coles

“Ideas move mountains, especially in turbulent times. Lovemarks is the product of the fertileiconoclast mind of Kevin Roberts, CEO Worldwide of Saatchi & Saatchi. Roberts argues vociferously, and with a ton of data to support him, that traditional branding practices have become stultified. What’s needed are customer love affairs. Roberts lays out his grand scheme for mystery, magic, sensuality, and the like in his gloriously designed book Lovemarks.”

PRICE

Incredibly Strange Sex!

The Works of Richard Hell

Translated into fourteen languages, with more than 150,000 copies in print, the 2000 smash hit Lovemarks: the future beyond brands and its 2005 expanded edition have redefined the fundamentals of advertising forever.

Hardcover, 8 x 9.75 inches, 246 pages, four-color illustrations throughout

9781576872512 $19.95/$21.00C

HOT AND COLD

The Future Beyond Brands

business/advertising theory/ consumer culture

9781576871386 $29.95/$32.00C

Karl Lagerfeld

A Graphic Chronicle, 1941–43

By Kevin Roberts

James Ray Renton—thief, counterfeiter, and bank robber—became one of America’s Ten Most Wanted Men when he was charged with murdering a young Arkansas policeman in 1976. After a daring escape from the Tucker Maximum Security Unit in the 1980s, Renton made the FBI’s Fifteen Most Wanted List. He later wrote a 60-page account of his escape and adventures, sent in a series of letters to photojournalist Danny Lyon, a close friend of Renton’s since they met in the Texas prison system in 1967.

After Renton’s death in 1996, Lyon visited the Arkansas town where Renton had been convicted, and through an incredible paper trail located Dinker Cassell, who was sentenced to life along with Renton for the murder—but who may be entirely innocent. Like a Thief ’s Dream, Lyon’s first work of nonfiction prose, is the gripping story of two men—one alive, the other dead—and an unparalleled portrayal of prison life in the 1980s and 90s.

Neil Bernstein

KARL LAGERFELD DIET, THE

HITLER MOVES EAST

Lovemarks

By Danny Lyon

JUVENILE

9781576873205 $19.95/$21.00C

DEVIANT DESIRES

1894

Like a Thief’s Dream

9781576874530 $60.00/$64.00C

DANGEROUS DRAWINGS

ISBN 978-1-57687-384-7 $15.00 / Cnd $16.00

ISBN 978-1-57687-362-5 $29.95 / Cnd $32.00

ISBN

Interviews with Comix and Graphix Artists Andrea Juno

189

Hardcover, 7.25 x 9.5 inches, 220 pages, over 50 duotone photographs

humor/naughty boys/jackass journalism

WRITER

An Erotic Tale of New York

By Chris Nieratko Foreword by Johnny Knoxville

By Isabelle Storey

TITLE

BREAD & WINE

Skinema

Walker’s Way

Memoir/Art history/ photography

“Here’s your chance to have all the benefits of a tortured adolescence without the shitty childhood. Congratulations!”

—Sarah Silverman

Paperback, 5.25 x 7.125 inches, 288 pages, 50 four-color photographs and illustrations

ISBN 978-1-57687-440-0 $14.00 / Cnd $15.00

Walker’s Way: My Years with Walker Evans, Isabelle Storey’s memoir of her ten-year marriage to Walker Evans, is the story of an elegant young woman’s infatuation with a great American artist—with the man himself, with what he stood for aesthetically, and with his artistic and social circle—and how her initial passion gradually cooled into disenchantment.

Sumptuously illustrated with over 50 photographs, including more than a dozen previously unpublished works by Evans himself, Walker’s Way provides an eye-opening glimpse into the domestic life of a major American photographer who ranks among the twentieth century’s most celebrated, and enigmatic, artists.

Dear Diary collects Vice columnist Lesley Arfin’s funniest diary entries from 12 to 25 years old.

She updates each entry by tracking down the people involved and asking awkward questions like, “Do you remember when I tried to beat you up?” Sometimes old friends apologize. Sometimes they become new enemies. No matter who she talks to about the days we all discovered sex, drugs, and rock ’n roll, one thing becomes abundantly clear: Boys are totally immature.

189

Memoir/ART History/Gay DAlliances

From his extraordinary beginnings—his mother went into labor while gambling at a French casino—to escaping Nazi Germany, Fascist Italy, and ultimately hoping to conquer New York City, critic John Gruen writes a subtly revealing self-portrait in Callas Kissed Me…Lenny Too! The story of Gruen and wife Jane Wilson’s life in New York City explores a complex marriage and two parallel journeys of artistic growth. Though not wealthy, the Gruens knew everyone during their many years in the artistic milieu of which they were an active part.

There were chance encounters with Salvador Dalí, evenings spent pretending to be Chekhov characters at home with E.E. Cummings and Marion Morehouse, and a long working visit to Gian Carlo Menotti’s baronial Scottish estate. It was all quite head-spinning, at times producing hugely complicated situations, but throughout it all, Gruen and Wilson built successful careers based on hard work and a steady conviction that life should be lived to the fullest.

PRICE

9781576872185 $35.00/$37.50C

Combustive Motor Corporation

9781576873342 $35.00/$37.50C

WARHOL | MAKOS IN CONTEXT Glenn O’Brien

9781576873311 $60.00/$64.00C

WE’RE DESPERATE

The Punk Rock Photography of Jim Jocoy, SF/LA 78-80 Thurston Moore

9781576871560 $29.95/$32.00C

WILD STYLE THE SAMPLER

Charlie Ahearn

9781576873649 $35.00/$37.50C

WILLIAM KLEIN FILMS

Claire Clouzot

9781576870389 $39.95/$42.95C

/ PATTI SMITH THOM JONES BERT SUGAR JOHN GRUEN FRANCINE PROSE KRS-ONE JEFF CHANG ANTHONY HADEN-GUEST SAMUEL R. DELANY NORMAN MAILER ADAM GOPNIK GARRY TRUDEAU RICHARD HELL VINCENT KATZ MARIANE PEARL JON LEE ANDERSON EDWARD ALBEE RUBÉN MARTÍNEZ GLENN O’BRIEN DAVID HALBERSTAM HERBERT MITGANG BRUCE BENDERSON ROBERT COLES TRACY QUAN PATRICIA BOSWORTH NAT HENTOFF JOHN COPLANS JAY MCINERNEY ALICE WALKER DOUGLAS COUPLAND SUSAN SONTAG GREIL MARCUS CHUCK KLOSTERMAN ISAB ELLE STO R EY JA MES R ID GEWAY JO H N SZARKOWSKI GUILLERMO GÓMEZ-PEÑA KARL LAGERFELD OCTAVE MIRBEAU KEVIN ROBERTS THURSTON MOORE DAVE HICKEY DANIEL P. MANNIX

12894

1289

Callas Kissed Me…Lenny Too!