Catalog of an exhibition held at the Museum of Modern Art, New York.

Diane Arbus (1923–1971) is one of the most distinctive and provocative artists of the twentieth century. Her photographs of children and eccentrics, couples and circus performers, female impersonators and nudists, are among the most recognizable images of our time. This book is the definitive study of the artist’s first seven years of work, from 1956 to 1962. Drawn primarily from the rich holdings of the Metropolitan Museum’s Diane Arbus Archive—a remarkable treasury of photographs, negatives, appointment books, notebooks, and correspondence—it is an essential contribution to our understanding of Arbus and her oeuvre. diane arbus: in the beginning showcases over 100 of the artist’s early photographs, more than half of which are published here for the first time. The book provides a crucial, in-depth presentation of the artist’s genesis, showing Arbus as she developed her evocative and often haunting imagery. The photographs featured in this handsome volume reveal an artist defining her style, honing her subject matter, and in full possession of the many gifts for which she is now recognized the world over.

Edited by Alex Harris and Lee Friedlander.

Garry Winogrand—along with Diane Arbus and Lee Friedlander—was one of the most important photographers of the 1960s and 1970s, as well as one of the world’s foremost street photographers. Award-winning writer Geoff Dyer has admired Winogrand’s work for many years. Modeled on John Szarkowski’s classic book Atget, The Street Philosophy of Garry Winogrand is a masterfully curated selection of one hundred photographs from the Winogrand archive at the Center for Creative Photography, with each image accompanied by an original essay. Dyer takes the viewer/reader on a wildly original journey through both iconic and unseen images from the archive, including eighteen previously unpublished color photographs. The book encompasses most of Winogrand’s themes and subjects and remains broadly faithful to the chronological and geographical facts of his life, but Dyer’s responses to the photographs are unorthodox, eye-opening, and often hilarious. This inimitable combination of photographer and writer, images and text, itself offers what Dyer claims for Winogrand’s photography—an education in seeing.

[What Winogrand] has given us in these photographs is a unilateral report of how we behaved under pressure during a time of costumes and causes, and of how extravagantly, outrageously and continuously we displayed what we wanted. --Tod Papageorge Public Relations is a distillation of a photographic project begun by Garry Winogrand in 1969 when he was awarded a Guggenheim Fellowship to photograph what he called "the effect of media on events." With his characteristic zeal, passion, spontaneity and intensity, Winogrand photographed an array of public events including museum openings, press conferences, sports games, demonstrations, award ceremonies, a birthday party and a moon shot. The photographs depict our emerging dependence on the media as well as how the media changes and sometimes even creates the event itself. First published to accompany a 1977 exhibition at The Museum of Modern Art, New York.

Originally published to great acclaim in 1976, The American Monument has become one of the most sought-after photography publications of the 20th century. Long out of print, this second edition is once again available again for all to enjoy and own. Published in the same oversized format as the first editionwith exquisite duotone reproductions of the original 213 photographsthe album of post-bound single sheets can easily be disassembled for display. Considered by many, including Friedlander himself, to be one of his most important books, The American Monument has influenced generations of photographers, curators and art historians. The second edition includes the original essay by Eakins Press founder Leslie George Katz along with a new essay by eminent past NYCs Museum of Modern Arts photography curator and Friedlander scholar Peter Galassi, which illuminates the history and continued significance of this iconic artist and this early publication. The deeply influential American curator of photography at MoMA during the 1960s-70s, John Szarkowski (19272007), stated: I am still astonished and heartened by the deep affection of those pictures, by the photographers tolerant equanimity in the face of the facts, by the generosity of spirit, the freedom from pomposity and rhetoric. One might call this work an act of high artistic patriotism, an achievement that might help us reclaim that word from ideologues and expediters. Lee Friedlander is the recipient of three Guggenheim Fellowships as well as a MacArthur Fellowship. He has published more than 50 monographs since 1969, and exhibited extensively around the world for the past five decades, including a major retrospective at the MoMA, NY, in 2005.