Vamonos Bernard Plossu In Mexico Signed Edition

For more than 15 years, French photographer Bernard Plossu took extended trips to Mexico to photograph people, landscapes and a culture in flux. " Vámanos! Bernard Plossu in México" captures the bohemian adventures of this traveler's four journeys, the first in 1965-66 and the last in 1981. His black-and-white and color images have transfixed generations of young people in France, who cherish him in the way young Americans celebrate Jack Kerouac. Plossu's romantic vision encompasses coquettish women, peasants at work, fog-wrapped trails in the jungle and waves lapping at sandy beaches. Yet Plossu is also aware of poverty and the challenges facing a modernizing society, and his photographs capture the nobility of all his subjects. Containing more than 300 photographs and organized into chapters representing each of his Mexican journeys, this is the first compilation of Plossu's Mexican work.

The definitive collection of Bernard Plossu’s iconic color photographs of the American Southwest Bernard Plossu has been called “the most American of French photographers” by his friend and colleague Lewis Baltz. Although he is best known for his work in black and white, often capturing a bohemian world of free-spirited adventure, Plossu has also shot in color throughout his career. This book showcases 88 bold and cinematic color photographs, many of which are previously unpublished, dating from the 1970s and early 80s, when Plossu was resident in the US. Strikingly rendered using the Fresson carbon printing process, these images depict an unmistakably American landscape of motels and rodeos, deserts and highways; a realm that is both rugged and dreamlike, haunted by the mythic imagery of the Old West. They combine to form a memorable and atmospheric collection of work by a supremely talented photographer.

"El Vaquero Real" is a mosaic of images, impressions and history of the life that was and hte life as it is today. It is a tribute to the vaquero -- the history, heritage, style, equipment, camaraderie and philosophy of life of these extraordinary men.

'Summer Nights, Walking' is a sequence of nightscapes photographed along the eastern edge of the Rocky Mountains in Colorado. Though much of the area has been urbanized, Robert Adams focuses on the continuing natural presence found in the shape of the land.

"Summer Nights" is a sequence of nightscapes photographed along the eastern edge of the Rocky Mountains in Colorado. Robert Adams focuses on the continuing natural presence found in the beauty of trees, sky, and the shape of the land. The series proceeds outward from population centers (chiefly Denver) to the rural plains and mountains, linking what remains of nature in the cities to a larger natural context.

Hunter S. Thompson, “smart hillbilly,” boy of the South, born and bred in Louisville, Kentucky, son of an insurance salesman and a stay-at-home mom, public school-educated, jailed at seventeen on a bogus petty robbery charge, member of the U.S. Air Force (Airmen Second Class), copy boy for Time, writer for The National Observer, et cetera. From the outset he was the Wild Man of American journalism with a journalistic appetite that touched on subjects that drove his sense of justice and intrigue, from biker gangs and 1960s counterculture to presidential campaigns and psychedelic drugs. He lived larger than life and pulled it up around him in a mad effort to make it as electric, anger-ridden, and drug-fueled as possible. Now Juan Thompson tells the story of his father and of their getting to know each other during their forty-one fraught years together. He writes of the many dark times, of how far they ricocheted away from each other, and of how they found their way back before it was too late. He writes of growing up in an old farmhouse in a narrow mountain valley outside of Aspen—Woody Creek, Colorado, a ranching community with Hereford cattle and clover fields . . . of the presence of guns in the house, the boxes of ammo on the kitchen shelves behind the glass doors of the country cabinets, where others might have placed china and knickknacks . . . of climbing on the back of Hunter’s Bultaco Matador trail motorcycle as a young boy, and father and son roaring up the dirt road, trailing a cloud of dust . . . of being taken to bars in town as a small boy, Hunter holding court while Juan crawled around under the bar stools, picking up change and taking his found loot to Carl’s Pharmacy to buy Archie comic books . . . of going with his parents as a baby to a Ken Kesey/Hells Angels party with dozens of people wandering around the forest in various stages of undress, stoned on pot, tripping on LSD . . . He writes of his growing fear of his father; of the arguments between his parents reaching frightening levels; and of his finally fighting back, trying to protect his mother as the state troopers are called in to separate father and son. And of the inevitable—of mother and son driving west in their Datsun to make a new home, a new life, away from Hunter; of Juan’s first taste of what “normal” could feel like . . . We see Juan going to Concord Academy, a stranger in a strange land, coming from a school that was a log cabin in the middle of hay fields, Juan without manners or socialization . . . going on to college at Tufts; spending a crucial week with his father; Hunter asking for Juan’s opinion of his writing; and he writes of their dirt biking on a hilltop overlooking Woody Creek Valley, acting as if all the horrible things that had happened between them had never taken place, and of being there, together, side by side . . . And finally, movingly, he writes of their long, slow pull toward reconciliation . . . of Juan’s marriage and the birth of his own son; of watching Hunter love his grandson and Juan’s coming to understand how Hunter loved him; of Hunter’s growing illness, and Juan’s becoming both son and father to his father . . .

From a writer whose work has been praised by Junot Díaz as 'Latin American fiction at its pulpy phantasmagorical finest,' Don't Send Flowers is a riveting novel centred on Carlos Treviño, a retired police detective in northern Mexico who has to go up against the corruption and widespread violence that caused him to leave the force, when he's hired by a wealthy businessman to find his missing daughter. A seventeen-year-old girl has disappeared after a fight with her boyfriend that was interrupted by armed men, leaving the boyfriend on life support and the girl an apparent kidnap victim. It's a common occurrence in the region-prime narco territory-but the girl's parents are rich and powerful, and determined to find their daughter at any cost. When they call upon Carlos Treviño, he tracks the missing heiress north to the town of La Eternidad, on the Gulf of Mexico not far from the U.S. border-all while constantly attempting to evade detection by La Eternidad's chief of police, Commander Margarito Gonzalez, who is in the pockets of the cartels and has a score to settle with Treviño. A gritty tale of murder and kidnapping, crooked cops and violent gang disputes, Don't Send Flowers is an engrossing portrait of contemporary Mexico from one of its most original voices.

A remarkable collection of New Mexico images by one of today's best-known French photographers.