TED Prize winner, Oscar nominee, and one of Time's 100 most influential people of 2018, JR is a contemporary art superstar. In 2018, over one thousand New Yorkers posed for the camera and told their stories at JR's mobile photo studio and JR compiled their portraits into an astounding photographic mural—a portrait of the city—for the Brooklyn Museum. This book features both the final mural and every individual photo, as well as a selection of compelling stories and a behind-the-scenes look at how this incredible work was made. • This art piece captures the essence of an iconic city in words and images • Includes a removable poster that showcases the entire mural • Features a foreword by Darren Walker and an artist's statement • Beautiful on the coffee table or in a photo book collection Fans of Humans of New York, Jason Polan's Every Person in New York, and Banksy's Wall and Piece will love this book. This book is perfect for: • Fans of the artist JR • Anyone who loves New York City • Photographers, both established and aspiring • Lovers of contemporary art, black and white photography, and site-specific art projects

A collection of compelling quotations from JR—the renowned French photographer, street artist, and activist JR is perhaps best known for taking portraits of regular people, reproducing the images at a monumental scale, and pasting them on the sides of buildings in the subjects’ neighborhoods. Among his many other notable projects are a gigantic photo of a child peering over the top of the barrier at the US-Mexico border and an enormous mural of inmates that covers the ground of an outdoor exercise yard at a California prison. Collected from interviews, writings, and other sources, JR-isms is an inspiring and thought-provoking collection of quotations from the exciting artist and activist, whose work reaches far beyond the traditional art world, from the streets of New York to the suburbs of Paris and the favelas of Brazil. “I was writing my names on walls to say ‘I exist,’ then I started pasting pictures of people with their names to say they exist.” “Art is not supposed to change the world. It can offer a new perspective, a new look, break down the walls we build between us, and humanize the ‘other.’ ” “I always make sure in my art that I even confront my own perspective.” “You know what they say, that the criminal always goes back to the crime scene? It works the same for the artist. When you do something in the street, you come back to see how people approach it. No one knows it’s you, but you’re right there.”

From peglegged Peter Stuyvesant to CBGB’s, the story of the Bowery reflects the history of the city that grew up around it. It was the street your mother warned you about—even if you lived in San Francisco. Long associated with skid row, saloons, freak shows, violence, and vice, the Bowery often showed the worst New York City had to offer. Yet there were times when it showed its best as well. The Bowery is New York’s oldest street and Manhattan’s broadest boulevard. Like the city itself, it has continually reinvented itself over the centuries. Named for the Dutch farms, or bouweries, of the area, the path’s lurid character was established early when it became the site of New Amsterdam’s first murder. A natural spring near the Five Points neighborhood led to breweries and taverns that became home to the gangs of New York—the “Bowery B’hoys,” “Plug Uglies,” and “Dead Rabbits.” In the Gaslight Era, teenaged streetwalkers swallowed poison in McGurk’s Suicide Hall. A brighter side to the street was reflected in places of amusement and culture over the years. A young P.T. Barnum got his start there, and Harry Houdini learned showmanship playing the music halls and dime museums. Poets, singers, hobos, gangsters, soldiers, travelers, preachers, storytellers, con-men, and reformers all gathered there. Its colorful cast of characters includes Peter Stuyvesant, Steve Brodie, Carry Nation, Stephen Foster, Stephen Crane, and even Abraham Lincoln. The Bowery: The Strange History of New York’s Oldest Street traces the full story of this once notorious thoroughfare from its pre-colonial origins to the present day.

An original study of monuments to the civil rights movement and African American history that have been erected in the U.S. South over the past three decades, this powerful work explores how commemorative structures have been used to assert the presence of black Americans in contemporary Southern society. The author cogently argues that these public memorials, ranging from the famous to the obscure, have emerged from, and speak directly to, the region’s complex racial politics since monument builders have had to contend with widely varied interpretations of the African American past as well as a continuing presence of white supremacist attitudes and monuments.