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“Who doesn’t know Paul Newman? The man with the beautiful blue eyes, the chiselled face and body, the 50-plus years of memorable acting and directing roles, the awards, the movie-star marriage. Well, it turns out, there is lots more to know.” — Parade Magazine
“Newman’s preternaturally piercing baby blue eyes shine through in every picture, and he was well aware of how his fame rested on the colour of his irises.”┬á— Peter Sheridan, Daily Express

“Hollywood Hunk Paul Newman as you’ve never seen him before.”┬á┬á— Yahoo! News

“Paired with raw and unvarnished commentary from the photographers themselves, Newman’s incomparable authenticity and appealing persona bleed through each page.” — Newsweek
Once, when asked how he’d like to be remembered, Paul Newman replied: “I’d like to be remembered as a guy who tried. Tried to be part of his times, tried to help people communicate with one another, tried to find some decency in his own life, tried to extend himself as a human being.”┬á

As an actor who became a film star, Newman repeatedly tapped into his times and in doing so redefined what movie stardom could be. Newman was a new kind of movie star, bringing a particular authenticity, intensity and sensitivity to his performances.┬á

Throughout his career, Newman was extensively photographed: these images enriched film audiences’ connection to him as a cool and graceful presence both on and off-screen.┬á

Milton Greene, Douglas Kirkland, Lawrence Fried, Terry O’Neill, Al Satterwhite and Eva Sereny are amongst the photographers who worked with Newman on and off-set across his career. From early stage work with his wife, Joanne Woodward, to his love of racing cars, to the essential 1980s drama Absence of Malice to the great success of the new western Butch Cassidy and the Sundance Kid and the cult favourites, Pocket Money and The Life and Times of Judge Roy Bean, Newman’s movies were an essential part of American culture.┬á

With comment and contributions from the photographers, Paul Newman: Blue Eyed Cool, gathers together portraits, stage, racing and on-set photography — including never before seen images — in a celebration of an actor who was always… cool.

Paul Newman: Blue Eyed Cool is a must-have for fans who see in Newman’s work and in his life a true hero.

Rhetoric provides a repertoire of different methods for original and innovative creation by introducing notions of surprise, the unexpected, and conflict. The myths of “inspiration” and “the brilliant idea” dominate explanations of the genesis of many architectural and creative projects. Nevertheless, perhaps the most original ideas and innovative designs could be explained as transpositions of the classical figures or colours of rhetoric. This possibility brings up several questions.
Is rhetoric a kind of repertoire of different ways in which one can be “original”? Can the creative process be facilitated and enriched if creators become more aware of the system that they often use intuitively? Do architects make conscious or unconscious use of some of the figures of thought, tropes, and colours when creating and discussing architecture? Can metonymies, hyperbatons, oxymorons, antitheses, and puns, among many other rhetorical figures, be identified in spatial and visual disciplines? Can rhetorical mechanisms be applied to architecture to coordinate social action?
These are some of the key questions addressed in this book, which revolves around an inventory of rhetorical figures found in architecture and visual arts.

memymom is the mother‐daughter artistic collaboration of Marilène Coolens and Lisa De Boeck. Their transgenerational project, which first emerged in the 1990s, consists of intimate archives and family photos where Marilène urges her daughter Lisa to express and invent herself by improvising her own theatrical scenes. Since 2004, the protagonists have worked together behind and in front of the lens, simultaneously photographer and model. Over the years, memymom’s dreamlike, partly directed portraits have matured into a conversation about metamorphosis, personal identity, potential, as well as a plea for sensual analysis and tragic romanticism, as irrefutably illustrated in their latest series Somewhere Under the Rainbow.

In this book, which is the culmination and prolongation of their recent work, the two artists disclose the way in which their themes and visual language have remained constant over the past 30 years, while simultaneously evolving fascinatingly in terms of aesthetics and content, through recurring references and reflections. This exhibition also provides an opportunity to see how the inclusion of an assorted group of other people, each playing a different role, has always been part of their artistic process.

Text in English and French.

Transformation processes are the focus of Georg Aerni’s new photographs. The Swiss photographer and artist shows plastic greenhouses that have annexed whole swathes of land for agricultural mass production, residential houses that have been built overnight on the city outskirts without construction machines and literally noiselessly. He points his lens at olive trees that have grown over centuries into figures full of character, at creepers that conquer leftover spaces between high-rises and motorways, and at mighty rock faces that are being gnawed by erosion. With the merging of art and documentation that is typical of Aerni’s work, Georg Aerni—Silent Transition makes the signs of change the object of a contemplative observation and at the same time asks challenging questions: about our handling of natural resources, about the social backgrounds to cities growing out of control, about the regenerative force of nature.

A decade after Aerni’s first monograph, Sites & Signs, this new book showcases the artist’s ongoing continuation of his photographic work through numerous individual images as well as new series. 166 beautiful colour and black-and-white plates are introduced through texts by Peter Pfrunder and Nadine Olonetzky and commented on with an essay by Sabine von Fischer.

Text in English and German.

Suzanis, the exquisite hand-embroidered panels from Central Asia, have captured the hearts and minds of collectors and decorators for many years. Joyful and exuberant, they are a bridge to a past way of life in which textiles permeated every facet of existence. While today they adorn the walls of museums and can be spotted in homes designed by interior designers such as Robert Kime and Beata Heuman, not much is known about their history. This book sets out to change that.

Through the lens of one of the best collections of suzanis in the world, we delve into the history of Central Asia and understand more about the women who painstakingly stitched these works of art. A true delight for all who have experienced the magic of the suzani, this publication pairs beautiful visuals with engaging new research.

Shaped by nature and selected by man, scholars’ rocks, or gongshi, have been prized by Chinese intellectuals since the Tang dynasty, and are now sought after by Western collectors as well.

They are a natural subject for the photographer Jonathan Singer, most recently acclaimed for his images of those other remarkable hybrids of art and nature, Japanese bonsai.

Here Singer turns his lens on some 150 fine gongshi, ancient and modern, from the world-class collection of Kemin Hu, a recognised authority on this art form. In his photographs, Singer captures the spiritual qualities of these stones as never thought possible in two dimensions; he shows us that scholars’ rocks truly are, in Hu’s words, “condensations of the vital essence and energy of heaven and earth.”

Hu contributes an introductory essay on the history and aesthetics of scholars’ rocks, explaining the traditional terms of stone appreciation, such as shou (thin), zhou (wrinkled), lou (channels), and tou (holes). She also provides a narrative caption for each stone, describing its history and characteristics.

One icon meets another: For true automotive enthusiasts, it was no surprise that the paths of Aston Martin and René Staud would cross at some point.

The British brand’s meteoric success story began almost exactly 110 years ago. Its claim of building road-ready racing cars has always remained intact. Legendary victories at Le Mans or the Nürburgring, for example, contributed to Aston Martin’s appeal, as did the fact that Her Majesty’s secret agent, James Bond, drove the elegant, British-built DB5 as early as 1964.

In this new edition of the best-selling book, multiple award-winning automotive photographer René Staud presents breathtaking new photographs of both old and present-day models — even those knowledgeable about the brand will discover stories not yet heard.

Text in English and German.

“Nineties Spirit is comprehensive, compelling and at times emotional. It’s a must-have for any fan of music.” — Amateur Photographer
“As a time capsule of the music industry in the 1990s… Nineties Spirit is comprehensive, compelling and at times emotional. It’s a must-have for any fan of music.” — Amateur Photography

“If photographs could sing, Paul Bergen’s would be chart toppers.” — SquareMile

David Bowie and Bruce Springsteen, Nirvana and Oasis, Pete Doherty and Phil Collins, Prince and Motörhead — the internationally acclaimed and renowned music photographer Paul Bergen has seen all the stars of the 1990s through his lens, both on stage and backstage.

His photo archives are among the world’s largest in the music industry. In Nineties Spirit, he is now sharing these treasures with a large audience for the very first time.

The artists themselves also get a chance to have their say. In short passages, interviews, and commentaries, the authors bring the iconic decade alive again. They make Nineties Spirit a one-of-a-kind chronicle of the times that captures an entire generation’s attitude toward life.

Over the last 500 years, a range of innovative, responsive, and pragmatic civic actions have helped to generate, define, and maintain New York City’s global significance. From early on much of these actions were responses to population density and the accompanying challenges for health and well-being. Approaching its next growth cycle, New York is again amid important urban transformations that demand new urban and architectural models that allow for an open city to balance gentrification, and to address a lack of public spaces, social infrastructure, and affordable housing. These challenges and their architectural and urban implications are the focus of Next New York.

The book captures the city’s current momentum through the lens of three important urban actions: sharing, connecting, and partnering. Through 10 essays from scholars and practitioners working on pressing urban issues, a photographic essay portraying New York during COVID-19, and more than 35 design projects from graduate studios at the University of Virginia’s School of Architecture, Next New York reflects, comments, and speculates on New York City’s capacity to bring about new conceptions of city-making and collective cohabitation through architecture.

Lam Partners has blazed the trail in architectural lighting design for more than 60 years. The visionary team of designers, architectural imaginers, and technical gurus have illuminated prominent and prestigious buildings, landmarks, and spaces across the United States and around the world.

William Lam founded his eponymous studio in 1961, pioneering the field of modern lighting design and establishing the core philosophies and principles that continue to lay the foundation for Lam Partners and the lighting industry today. Now led by its third generation of principals, Lam Partners collaborates closely with architects to develop custom lighting designs that bring their vision to life. Their passion for architecture and lighting is evident in the energy and enthusiasm injected into the design process, and the technical and creative strategies that enrich architecture and space, and elevate the human experience.

This beautifully presented monograph showcases 25 architectural lighting projects by Lam Partners, including the United States Institute of Peace, Guggenheim Museum Bilbao, Yad Vashem Memorial Museum, The TOWER at PNC Plaza, Salt Lake City Public Library, and SoFi Stadium. It also features a selection of legacy projects, such as the Washington D.C. Metro and Union Station, and the Atlanta Marriott Marquis, considered to be some of Lam’s greatest contributions to architectural lighting.

Future Offices examines the evolving nature of the office as a spatial asset. Rapid changes in culture, technology, and society have upended longstanding notions of offices and the nature of work itself. While companies and capital around the globe have become increasingly consolidated, labour vis-à-vis technology has become increasingly decentralized. The office, traditionally a key spatial interlocutor between labour and capital is caught in an awkward position with typological considerations for architecture. What should the future office look like? What is the future role of the headquarters? What does the office’s changing role mean for urbanism? The works collected here provide frameworks for understanding the complex and multifaceted nature of contemporary work, manufacturing, and commerce, and they aspire to influence new ways of conceiving architecture at multiple scales. They speculate upon a future where offices acquire new facets as resources of space, knowledge, and production that participate in local and global economic and cultural contexts in new hybridised forms. At the heart of this is a recognition that the new ways in which companies integrate into in society should be reflected in architecture itself.

The novelist, writer, curator and cultural commentator Michael Bracewell has written extensively for museums and galleries, along with art publications as diverse as Frieze and The Burlington Magazine, approaching visual art through its cultural context, the lens of the recent past and prolonged looking.

Bracewell’s art writing focuses on detailed descriptions of works of art, expanding their interpretation to include media, politics, music, poetry and other areas of cultural production. By exploring connections between the visual arts, pop music, modern iconography and subcultures, while appraising the vision and ideas of individual artists, he relates their work to its broader cultural context.

This collection of texts reads like a history of British art (and the UK itself) from the 1950s to the 2010s, featuring artists such as Richard Hamilton, Bridget Riley, Gilbert & George, John Stezaker, Wolfgang Tillmans, Leigh Bowery, Glenn Brown and Damien Hirst. Each essay is accompanied by an illustration selected by Bracewell, and the publication concludes with a body of autobiographical writings.

“If you really want to get under the skin of a city, the 500 Hidden Secrets series, which covers a number of cities from Havana to Ghent, all written by people who know the cities inside out, is ideal. It’s an innovative and refreshing take on the traditional travel guide.” – The Independent

The perfect book for those who wish to discover the locals’ favourite spots in Venice, one of the most popular tourist destinations in Europe. Avoiding the usual tourist haunts, this affectionate guide provides a fresh perspective on the must-visit spots and introduces you to Venice’s best-kept secrets, such as 5 restaurants that most tourists will never find, 5 cosy markets in the open air, the 5 most beautiful buildings by architect Carlo Scarpa, 5 convents where you can spend the night, the 5 nicest bookshops for kids and much more.

The Art & Times of Daniel Jocz presents the entrancing and challenging work of American jewellery artist and sculptor Daniel Jocz. There is a spontaneous quality to the work, yet it is always rich with meaning. His open spirit is fully embodied in the 2007 neckpiece series An American’s Riff on the Millstone Ruff. Inspired by the extravagant scale of 17th-century Dutch ruffs at the Rijksmuseum in Amsterdam, he decided to update them with automobile paint.

Jeannine Falino takes an in-depth look at the twists and turns of Jocz’s long career, from his early geometric sculptures to the fashion-forward flocked Candy Wear collection, and from his ruminations on Marlene Dietrich in the form of necklaces featuring enamel smoked cigarettes to the wall reliefs he explores today. Wendy Steiner considers Jocz’s place in the avant-garde through the lens of fashion and culture, while Patricia Harris and David Lyon explore his involvement in the rollicking Boston jewellery scene of the late 20th century.

“Ballet inspires me. Human beings have the capacity to express themselves through many art forms, but when it comes to dance – and especially classical modern ballet – I am always amazed by that unbelievably elevated form of expression. It’s so precise and so incredibly skilled; I admire that enormously.” — Photographer and filmmaker Erwin Olaf

“The fact that the photographer is looking through the camera lens means they have a different perspective from looking directly at the figure. That is voyeuristic. The camera can do something that the audience member can’t: zooming in for a close-up.” — Choreographer Hans van Manen

The grand master of Dutch dance, Hans van Manen, celebrates his 90th birthday this year. That has given rise to international celebrations by leading ballet companies with the Hans van Manen festival from 8 to 29 June 2022, the exclusive publication Dance in Close-Up and the exhibition of the same name in Galerie Ron Mandos in Amsterdam from 19 June to 17 July 2022.

From the 1970s to the 1990s, Hans van Manen was not only one of the world’s leading choreographers, but also an internationally acclaimed photographer. It was during this period that the then very young photographer Erwin Olaf met the famed artist, who immediately took him under his wing and introduced him to the world of the visual arts and studio photography.

This book celebrates their 40 years of friendship, with a photo series in which Van Manen directs moments from his choreographic career, recorded with the utmost precision by Erwin Olaf.

With text contributions from the authors Nina Siegal and Michael James Gardner.

“Newman’s preternaturally piercing baby blue eyes shine through in every picture, and he was well aware of how his fame rested on the colour of his irises.” — Peter Sheridan, Daily Express

Once, when asked how he’d like to be remembered, Paul Newman replied: “I’d like to be remembered as a guy who tried. Tried to be part of his times, tried to help people communicate with one another, tried to find some decency in his own life, tried to extend himself as a human being.”

Throughout his career, Newman was extensively photographed: these images enriched film audiences’ connection to him as a cool and graceful presence both on and off-screen.

With comment and contributions from the photographers, Paul Newman: Blue-Eyed Cool, gathers together portraits, stage, racing and on-set photography — including never before seen images — in a celebration of an actor who was always… cool.

Throughout his career, Newman was extensively photographed: these images enriched film audiences’ connection to him as a cool and graceful presence both on and off-screen.

Russell “Russ” Melcher came to Europe and photographed the superstars of the time, either during their visits to Paris and France or accompanied them on worldwide trips. He witnessed many world events from film festivals to terrorist attacks. Among the portrayed were royal families like the Windsors, Grace Kelly & the Monegasques, as well as film legends like Romy Schneider, Alain Delon, Burt Lancaster, Erol Flynn, Alfred Hitchcock, Sofia Loren, Brigitte Bardot, and music legends like Frank Sinatra, Elvis Presley, Harry Belafonte, and Yves Montand. In addition, there were political greats such as Charles DeGaulle, Fidel Castro, Nikita Khrushchev, the Shah of Persia, American presidents, and many more. Later Russ Melcher became director of the legendary photo agency MAGNUM and worked with photo legends Robert Capa, Henry Cartier-Bresson, Ian Berry, Bruce Davidson, Elliott Erwitt, to name a few.

This large-format photo book is about the stories behind the images and personalities. Entertaining, humorous, but also profound, Russ describes his way to the perfect photo, his individual perspective, up to the importance of photographic storytelling of this ‘Golden Age of Photojournalism’. Russ Melcher is an important witness to that time, but also an American entertainer in Paris who encouraged his protagonists to do things that few photographers could manage, a true and trusted partner to the stars of that era through the ages. The book is organised according to the two decades and Russell’s encounters with the stars of the time.

Text in English and German.

The Many Lives and Deaths of Louise Brunet brings together several hundred works of art, objects and archival documents, covering diverse geographies over several millennia. From Cranach to 1960s industrial design, and ancient funerary stele to 18th century Japanese Samurai armour, the exhibition draws on the collections of local and foreign institutions. It exhumes trans-historical narratives of fragility and resistance and confronts them with a diversity of works by the biennale’s invited artists.

Departing from the context of Lyon, the exhibition is designed as a retelling of the obscure 19th century story of Louise Brunet, a silk spinner from the Drôme, who after joining the revolution of the “Canuts” (silk weavers) in 1834, embarked on an arduous journey of self-reinvention, which ended in the Lyon-owned silk factories of Mount Lebanon. Louise Brunet is portrayed as an elusive figure, part real, part fictional, that appears in different guises, in various places, at several moments in history.

A World of Endless Promise assembles a host of creative practices by 88 artists from 39 countries that are spread across 12 locations spanning several centuries of Lyon’s rich history.

Whether through the issues they tackle, or the materials they use, these artists’ diverse approaches represent varied understandings of our current state of global uncertainty and has the potential to inform our thinking about generative paths of resistance. In recognising that artists, past and present, are often among the most vulnerable voices in our societies, the exhibition also brings together works of art and objects spanning millennia that bare their scars and deformities, share forgotten accounts of turmoil, and draw attention to the indelible traces of time. And it is exactly there, at the heart of their fragility, that the promise of a truly changed world begins.