Guido Guidi's new book, 'In Veneto 1984-89', opens with a big eye framed in the blind of a shop window in Mestre, an eye which, by opening like a sort of warning, announces the origin of photography itself. This book contains a selection of hitherto unpublished photographs that Guidi took between 1984 and 1989, using a Deardorff 8X10. This was the first time he had used a large format camera for a whole project, which concentrated on an area in the central Veneto, an area known for having rapidly turned into a deeply uncertain, marginal landscape, one intimately hierarchy-free. The places he visited, in the provinces of Treviso, Vicenza, Padua and Venice, seem to be almost part of the same drawing, of the same place, bearing stark testimony to the process of change that has led to the transformation of a huge rural area, driving it into a form of fragmentation known as urban spread. The photographs in these much-loved places seem to re-evoke the three truths described by Robert Adams in ?Beauty in Photography?: geography, biography, and metaphor.00Exhibition: Museo Casa Giorgione, Castelfranco Veneto, Italy (19.10.-17.11.2019)

"It is spring 2008 and my friend, photographer and book collector John Gossage is coming to the UK. We have planned to embark upon a minor road trip together. All John requests is that I drive and that we visit some 'typical Parr seaside locations'. No problem." Martin Parr "The protagonist of this work, "the photographer", Mr. Parr is pictured throughout the book." John Gossage Martin Parr and John Gossage's British coastal trip covered spots like Georgian Clifton (Bristol), Severn Bridge (Wales), and Caerau, the mining village near Cardiff where photographer Robert Frank had made his famous report and met the miner Ben James in 1953. The road took them further north to reach Porthmadog and Blaenau Ffestiniog in North Wales, ending in Liverpool, Morecambe and smaller towns in the Lake District. The outcome are shots of street scenes, backyards, gardens, sceneries and very few people on the way, silent testimonies of small, unexpected details of every- day life in a world that is not visited by many, let alone photographed. As Parr concludes in his introductory text: "I am amazed that the collective vision of this volume is so familiar, but entirely alien. It restores my faith in photography to kno w that a mature and original photographer like John Gossage can see the things I just did not notice." John Gossage , born in New York in 1946, now residing in Was hington, D.C., briefly studied with Lisette Model and Alexey Brodovitch from 1960 to 1961. In the late 1960s he learned Telecaster guitar from Roy Buchanan and Danny Gatton, giving up professional music in 1973 and returning to photography. From 1974 through 1990 he had various exhibitions at Leo Castelli Gallery in New York. From 1990 on he has been concentrating almost exclusively on publications, producing twenty-four different books and boxes on specific bodies of photographic work.

"A classic."—New York Times "Seminal, epochal, path-breaking . . . a Democracy in America for our times."—The Nation From the bestselling author of Bowling Alone, a landmark account of the secret of successful democracies Why do some democratic governments succeed and others fail? In a book that has received attention from policymakers and civic activists in America and around the world, acclaimed political scientist and bestselling author Robert Putnam and his collaborators offer empirical evidence for the importance of "civic community" in developing successful institutions. Their focus is on a unique experiment begun in 1970, when Italy created new governments for each of its regions. After spending two decades analyzing the efficacy of these governments in such fields as agriculture, housing, and healthcare, they reveal patterns of associationism, trust, and cooperation that facilitate good governance and economic prosperity. The result is a landmark book filled with crucial insights about how to make democracy work.

The Flying Carpet is a collection of images taken by Cesare Fabbri in and around Emilia-Romagna and Sardegna, Italy, between 2005-15. The photographs affirm the simple magic of photography-as if it's thorough the image itself that we might discover something for the first time, something right before our eyes. "The camera," wrote Luigi Ghirri in the 1970s, "is a magical toy capable of bringing together the great and the small, illusion and reality, time and space." And indeed, in these photographs, we encounter a world of things re-animated as images, a silent world roused from its slumber? huts with painted, questioning eyes, an inquisitive mailbox peering over a fence, or an embroidered carpet lifting off in the breeze. Italian photographer Cesare Fabbri was born in Ravenna in 1971. He studied photography and urban planning at the IUAV in Venice. In 2007 he took part in the Stuttgart Biennale of Photography and Architecture and was shortlisted for the prize Atlante Italiano 007 organised by Museo MAXXI, Roma. With Silvia Loddo he founded in 2009 osservatorio fotografico, an experimental platform for research on photography. This is his first book.

Now in its third printing, Beauty In Photography is updated on the occasion of a major retrospective exhibition. Illustrated.

A breathtaking visual biography of Freud, told through his own words, unpublished private photographs, and painted portraits This unprecedented look at the private life of Lucian Freud begins with childhood snapshots and ends with rarely seen photographs made in his studio in the last weeks of his life. In between, the life of one of the most important artists of the twentieth and twenty-first centuries is vividly documented - through family photos, in images of the painter in his studio with some of his most celebrated sitters, and in portraits by his peers, first among them Francis Bacon.

Giambattista Tiepolo (1696-1770) was the greatest Italian painter of the eighteenth century, best known for his monumental frescoes and epic altarpieces. The scale of these paintings is immense, even overpowering. Yet some of Tiepolo's finest work can be found in the small oil sketches that he often made in preparation for these grand commissions. Published to coincide with an exhibition at the J. Paul Getty Museum, Giambattista Tiepolo: Fifteen Oil Sketches brings together a group of the artist's oil sketches from the Courtauld Institute in London that spans his entire career and reveals the amazing confidence and fluidity with which he created these paintings. The unusual intimacy of these preparatory sketches-made directly on the canvas with no preliminary underdrawing-reveals a great artist's vigorous imagination at work. The exhibit will run from May 3, 2005, to September 4, 2005. An introductory essay situates these works within the context of eighteenth-century art and Tiepolo's life and career.