An elegant collection of portraits of swimmers at Coney Island across two decades This collection of 30 photographs by American photographer Peter Kayafas (born 1971) depicts people swimming in the ocean at Coney Island, a location that has long served as a source of inspiration and fascination for artists. Made over the course of many summers and one particular winter during which Kayafas was a member of Coney Island's legendary Polar Bear Club (the oldest winter bathing club in the United States) in the 1990s and 2000s, the photographs are filled with energy, movement, grace and a surprising intimacy. Using a waterproof camera, hidden just below the ocean's surface, Kayafas captures candid snapshots of unsuspecting beachgoers. His focus on the swimmers over a period of two decades provides an extended insight into the elemental relationship humans have with water.

Polaroid Photography Book

Photography

Daily meditations cover identity, life assessment, goals, self-esteem, fear, risk taking, humility, and freedom.

Zomorod (Cindy) Yousefzadeh is the new kid on the block...for the fourth time. California’s Newport Beach is her family’s latest perch, and she’s determined to shuck her brainy loner persona and start afresh with a new Brady Bunch name—Cindy. It’s the late 1970s, and fitting in becomes more difficult as Iran makes U.S. headlines with protests, revolution, and finally the taking of American hostages. Even puka shell necklaces, pool parties, and flying fish can't distract Cindy from the anti-Iran sentiments that creep way too close to home. A poignant yet lighthearted middle grade debut from the author of the bestselling Funny in Farsi. California Library Association’s John and Patricia Beatty Award Winner Florida Sunshine State Young Readers Award (Grades 6–8) New York Historical Society’s New Americans Book Prize Winner Middle East Book Award for Youth Literature, Honorable Mention Booklist 50 Best Middle Grade Novels of the 21st Century

Published to coincide with an exhibition held at the Photographers' Gallery and Foundling Museum in London and touring to Chicago's Museum of Contemporary Photography, this beautiful and striking book examines contemporary interpretations of one of the most enduring subjects in the history of picture-making: the image of the mother. Focusing on the work of twelve international photographic artists, the publication challenges the stereotypical or sentimental views of motherhood handed down by traditional depictions, and explores how photography can be used to address changing conditions of power, gender, domesticity, the maternal body, and female identity. The work featured here is highly personal, often documentary in approach and with the individual subject at its centre, reflecting photography itself in the twenty-first century. The featured artists offer very different views of contemporary motherhood, from the devoted to the dysfunctional, representing the myriad ways that becoming - or even trying to become - a mother can radically alter a woman's sense of self and how others perceive her. The book's essays, illustrated with dozens of comparative images from antiquity to the present day, present the historical and contemporary context of the mother figure. Curator of the exhibitions and volume editor Susan Bright traces the history of photographs of motherhood from the nineteenth century to our 'postfeminist' age. Simon Watney weaves a fascinating narrative of the Madonna figure through the centuries. Nick Johnstone looks at the presentation of the mother from the perspective of the father, and considers how images of fatherhood compare, while Stephanie Chapman lays out the moving history of London's Foundling Museum through photographs and repositions the mother in a story of loss where she is strangely absent. Presenting contemporary thinking on motherhood through an exploration of its changing representation in photography, Home Truths provides a fresh and unique insight into one of the most universal and well documented of experiences.

"Barrio collects ninety of these striking color images along with D'Amato's fascinating account of his time photographing Mexican Chicago and his acceptance - often grudging, after threatened violence - into the heart of the city's Mexican community."--Jacket.