The Garden At Orgeval

T&HFL12 After a lifetime of working on a series of "collective portraits" in far-flung places such as Mexico; Ghana; Italy; Tir a'Mhurain, Scotland; and his adoptive country, France, an aging Paul Strand decided to concentrate on still lifes and the stony beauty of his own garden at Orgeval, France, as a site in which to distill his discoveries as a photographer. The work that constitutes The Garden at Orgeval is marked by close and careful study of the forms and patterns within nature--of tiny buttonshaped flowers, cascading winter branches, and fierce snarls of twigs. While the images bear the same directness and precise vision that is quintessentially Strand, the work also reflects a growing metaphorical turn. Renowned photographer Joel Meyerowitz--whose own affinity toward Strand's Orgeval series stems from a lifetime of photographing in different genres and ultimately returning to nature as an enduring subject--will select the photographs in the book, and respond to them in an accompanying personal essay, reflecting on issues, including the contemplation of one's garden and growing old. Beautifully produced in a modest size, in the manner of a volume of poems, this book's task is to do credit to Strand's final work, both as an individual and as a key figure in Modernist photography.

Sexuality and Gender at Home is the first book to explore the meanings and experiences of home through the framework of sexuality. Looking at a broad spectrum of sexuality, gender and domesticity, it examines the many ways in which home is constructed, performed and experienced in relation to sexuality and gender. Considering identity issues such as age, class, ethnicity and gender, the authors problematize intimacy and question conventional ways of thinking about allegedly ‘private’ home space. Comprehensive introductions to each of the book’s three sections – on Intimacy and Home, Queering Home, Beyond Home – provide a coherent overview of the existing literature as well as additional historical and cultural context. Fourteen chapters present ground-breaking research and insights into sexuality, gender and home across culture, time and space. Written by academics from a range of subject disciplines, chapters are based on research covering countries including Australia, France, Sweden, the UK, the USA, Guyana, Israel, and Singapore.This highly original text is the ideal starting point for anyone wishing to get to grips with the emerging field of sexuality, gender and home and will particularly appeal to researchers and students in anthropology, architecture, gender studies, sociology, and human geography.

An exclusive glimpse into the hidden world of secret Parisian gardens. A hidden landscape lies behind Paris’s urban facades. Whether grandiose or modest, manicured or untended, these secret gardens, rarely seen by casual passersby, are timeless enclaves that provide verdant refuge from the bustling streets. From Hubert de Givenchy’s formal garden, to Kenzo’s Japanese-inspired oasis, or from an exotic hideaway with giant tropical ferns and rare flowers, to a symmetrical topiary menagerie, this eclectic range of urban gardens provides inspiration to the expert gardener and armchair enthusiast alike.

Originally published more than twenty years ago and winner of a Lambda Literary Award, Paris Was a Woman is a rare profile of the female literati in Paris at the turn of the century. Now with a new preface and illustrations, this "scrapbook" of their work—along with Andrea Weiss' lively commentary—highlights the political, social, and artistic lives of the renowned lesbian and bisexual Modernists, including Colette, Djuna Barnes, Gertrude Stein, Alice B. Toklas, Sylvia Beach, and many more. Painstakingly researched and profusely illustrated, it is an enlightening account of women who between wars found their selves and their voices in Paris. A wealth of photographs, paintings, drawings, and literary fragments combine with Weiss' revealing text to give an unparalleled insight into this extraordinary network of women for who Paris was neither mistress nor muse, but a different kind of woman.

Tir a'Mhurain is a collection of photographs that reflects the impressions gathered by Paul Strand and his wife Hazel during their 3-month visit to the Hebrides in 1945. Juxtaposing people and landscape, Strand's beautifully sequenced photographs depict the perfect complicity he saw between nature and habitation in their wild terrain. Whether it is a view of the rocks and the sea or a grinning shepherd boy; scuddling clouds hanging over seaside house or the wrinkled face of an old lady framed by a knitted shawl, Strand's images transcend the ephemeral. This extended portrait captures the essence and complexity of a singular place. This is a true masterpiece of photography.

Part of the Jewish Encounter series Novelist and critic Jonathan Wilson clears away the sentimental mists surrounding an artist whose career spanned two world wars, the Russian Revolution, the Holocaust, and the birth of the State of Israel. Marc Chagall’s work addresses these transforming events, but his ambivalence about his role as a Jewish artist adds an intriguing wrinkle to common assumptions about his life. Drawn to sacred subject matter, Chagall remains defiantly secular in outlook; determined to “narrate” the miraculous and tragic events of the Jewish past, he frequently chooses Jesus as a symbol of martyrdom and sacrifice. Wilson brilliantly demonstrates how Marc Chagall’s life constitutes a grand canvas on which much of twentieth-century Jewish history is vividly portrayed. Chagall left Belorussia for Paris in 1910, at the dawn of modernism, looking back dreamily on the world he abandoned. After his marriage to Bella Rosenfeld in 1915, he moved to Petrograd, but eventually returned to Paris after a stint as a Soviet commissar for art. Fleeing Paris steps ahead of the Nazis, Chagall arrived in New York in 1941. Drawn to Israel, but not enough to live there, Chagall grappled endlessly with both a nostalgic attachment to a vanished past and the magnetic pull of an uninhibited secular present. Wilson’s portrait of Chagall is altogether more historical, more political, and edgier than conventional wisdom would have us believe–showing us how Chagall is the emblematic Jewish artist of the twentieth century. Visit nextbook.org/chagall for a virtual museum of Chagall images.

"In 1970, photography curator Peter C. Bunnell organized the exhibition Photography into Sculpture for the Museum of Modern Art in New York, bringing together twenty-three photographers and artists from across the United States as well as Vancouver, British Columbia, whose work challenged accepted practices and categories. The Photographic Object 1970 serves as an exhibition catalogue after the fact, an oral history, and critical reading of exhibitions and experimental photography during the 1960s and 70s. It proposes precedents for contemporary artists who continue to blur the boundaries between photography and other art mediums."--Provided by publisher.

A variety of popular, platform-neutral tools are examined and used in an array of examples. An entire chapter is dedicated to Perl. Part tutorial, part reference manual. Department.