铁托南斯拉夫共chan主义极简主义狂野世界指南 Spomenik-- Serbo-Croat /斯洛文尼亚语中的纪念碑 - 指的是20世纪60年代至80年代在铁托的南斯拉夫共和国建造的纪念碑，标志着第二次世界大战期间占领的恐怖和轴心国的失败。全国各地都有数百座建筑，从沿海度假胜地到偏远山区。通过这些富有想象力的混凝土和钢铁形式，设想了一个没有种族紧张局势的无阶级，前瞻性的社会主义社会。而不是寻求意识形态一致的苏联的艺术灵感，铁托转向西方和抽象表现主义和极简主义的作品。这使得南斯拉夫能够通过纪念碑发展自己独特的身份，将它们变成政治工具，阐明铁托对新明天的个人愿景。 今天，在该国解体和随后的1990年代南斯拉夫战争之后，一些人被摧毁或被遗弃。许多人遭受了种族紧张局势的后果：一旦被视为希望的象征，他们现在成为怨恨和愤怒的焦点。 本

Life in motion: The forerunner of the moving image English photographer Eadweard Muybridge (1830?1904) is a pioneer in visual studies of human and animal locomotion . In 1872, he famously helped settle a bet for former California governor Leland Stanford by photographing a galloping horse. Muybridge invented a complex system of electric shutter releases that captured freeze frames?proving conclusively, for the first time, that a galloping horse lifts all four hooves off the ground for a fraction of a second. For the next three decades, Muybridge continued his quest to fully catalog many aspects of human and animal movement, shooting hundreds of horses and other animals, ?as well as nude or draped subjects engaged in various activities such as running, walking, boxing, fencing, and descending a staircase (the latter study inspired Marcel Duchamp ?s famous 1912 painting). This book traces the life and work of Muybridge, from his early thinking about anatomy and movement to his latest photogr

Stephenie Meyer's Twilight series has become a genuine phenomenon in pop culture, approaching the popularity of the Harry Potter series. In 2008, 10,000 pilgrims descended on Forks, WA, the town of 3,100 people that is the setting for the books. After the fall 2008 release of the record-setting Twilight movie (which made more than $70 million in its opening weekend alone), many more fans are expected to arrive in Forks in 2009. Twilight Tours is a photographic guide to this mystical place. Included are 90 photos composed by noted photographer George Beahm, who also contributes the accompanying text. The pictures range from moody scenic shots of the rain forest and nearby tribal lands described in the four novels to photographs of the actual high school, police station, saltwater beach, and a certain vintage red pickup truck.

Tuiga, Mariquita, Cambria, Shamrock, Eleonora, Zaca, Moonbeam, Lulworth, Sunshine, Partridge, Altair, Nan, Marilee, and Bona Fide: these are the majestic sailing yachts of legend presented in this lavishly illustrated volume.Featuring dazzling photographs by the renowned yachtsman and photojournalist Gilles Martin-Raget, this stunning tribute captures the original splendor of these fourteen recently restored boats. Readers feel as though they are traversing the globe with the crew as great action photography depicts the palpable excitement on board. From Buzzards Bay, Massachusetts to the Great Barrier Reef, Martin-Raget's striking scenes range from leisurely cruises past the villages of St. Tropez to close encounters between racing yachts during international regattas. Below deck, his images of the boats' impressive interiors offer a peak at the luxury accommodations. Complimenting the photographs, detailed architectural drawings reveal the structures of these fabled vessels.In this unprecedented docu

This is an elegant book, designed and printed in Germany, with an essay by Terence Pitts, of the Center for Creative Photography in Tucson, Arizona. It presents 180 of Weston's finest images, including many--such as the pines of Point Lobos, the sand dunes of Oceano, and his stark, unadorned nudes--that have become icons. Whereas the photographs of Man Ray and Moholy-Nagy were, to Weston's eyes, hopelessly mannered, his images are elemental, organic, and in harmony with nature's rhythms. Weston spent most of his working life in Mexico and California, and much of his work, replete with shadows, is illuminated with the harsh light of those places. In 1932, he and Ansel Adams founded the influential photographic collective Group f/64, named after the lens-aperture size that exposed an image at its most detailed and clear. This was Weston's aesthetic: to show the real world in its unrelieved integrity rather than create an imaginary construct. He was concerned with visual truth, not with character or storytelling