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A celebration of the transversal community from the iconic magazine. The Candy Book of Transversal Creativity showcases the best content from the groundbreaking style magazine's twelve issues, with photography by icons such as Nan Goldin, Ryan McGinley, Jack Pierson, and Ellen von Unwerth; such muses as Hari Nef, Divine, and Laverne Cox; and thoughtful and insightful writing by influential cultural trans figures such as Amos Mac and Geena Rocero. Founded a decade ago by Luis Venegas, C*NDY is the first and only style magazine to focus on the transversal community, or transgender and gender-nonconforming/nonbinary people, transvestism, cross-dressing, drag, and androgyny. C*NDY has a devoted fan base and respect from industry leaders for showcasing the most creative and important names and talent in transversal fashion, art, and culture. This book brings together for readers the most timeless, inspirational, and aspirational pages of fashion, art, culture, makeup, glamour, icons, amazing transformations, and fun. This is an inspiring celebration of the many levels of transversal creativity and people, all facing an exciting future.
Documenting the devastating effects of global warming and climate change, Warm Waters is a multi-year photographic documentary across the Pacific and Arctic Oceans, from Northern Alaska to the remote outposts of New Zealand. The journey started in 2013 in Papua New Guinea, where photographer Vlad Sokhin documented illegal logging and deforestation. In 2014, Sokhin covered the rise of sea levels, coastal erosion and the effects of El Niño in Papua New Guinea, Kiribati, Nauru, the Marshall Islands and Niue. In 2015, 2016 and 2018, he extensively covered the aftermath of tropical cyclones across Pacific island nations and delved deeper into documenting struggles of the affected communities, their resilience and adaptation to the realities of global warming. In 2019, he documented severe drought in Timor-Leste, caused by the weather anomalies. Warm Waters also looks at other environmental issues our planet is facing, such as climate migrants and their resettlement, permafrost melting, coral bleaching, and the need for renewable energy. The book shows the evidence of fight, adaptation, and hope of remote island and coastal communities. It takes you right into the lives of Inupiat and Yupik people in Alaska, and to the towns and villages that are being destroyed by the sea and coastal erosion on the Russian Kamchatka Peninsula. You will see how scientists work in the field, studying the effects of climate change, and how the people, affected by extreme weather conditions, are trying to survive and rebuild their lives after catastrophic events have ruined their land and homes. Warm Waters not only shows tragedy however; it shows the beauty of our planet, communities living in harmony with nature, and people that are tirelessly working to protect their fragile shores from the biggest environmental threat ever they have ever faced.
Celebrating 30 years of Dazed’s boundary-pushing storytelling at the forefront of youth culture, this book reveals the past, present, and future of Dazed through its bold cover designs and manifesto-like headlines. In 1991, the first issue of Dazed & Confused was released as a single A2 foldout newsprint by a then 20-year-old Jefferson Hack and the photographer Rankin. Now, 30 years later, what began as a print magazine has gone on to provoke a change in consciousness, becoming a vital cultural manifesto for today. Created for an audience that wants to be both informed and inspired to imagine, its radical approach to publishing means that Dazed is still at the forefront of youth culture today. Split into ten chapters—taken from the magazine’s most memorable cover lines—this book explores how these early manifestos reflect the magazine’s ethos today. Time-traveling from the ’90s to now, a new generation of image makers sit side by side with archival materials to showcase how Dazed has always interpreted celebrity through its own boundary-pushing lens: from Alexander McQueen and David Bowie’s first official, recorded conversation and the designer’s “Fashion-Able?” cover, to a rare appearance and guest-edit by Chelsea Manning, to rapper Young Thug shot by Harley Weir.
Since the 1990s, critics and curators have broadly accepted the notion that participatory art is the ultimate political art: that by encouraging an audience to take part an artist can promote new emancipatory social relations. Around the world, the champions of this form of expression are numerous, ranging from art historians such as Grant Kester, curators such as Nicolas Bourriaud and Nato Thompson, to performance theorists such as Shannon Jackson. Artificial Hells is the first historical and theoretical overview of socially engaged participatory art, known in the US as "social practice." Claire Bishop follows the trajectory of twentieth-century art and examines key moments in the development of a participatory aesthetic. This itinerary takes in Futurism and Dada; the Situationist International; Happenings in Eastern Europe, Argentina and Paris; the 1970s Community Arts Movement; and the Artists Placement Group. It concludes with a discussion of long-term educational projects by contemporary artists such as Thomas Hirschhorn, Tania Bruguera, Pawe? Althamer and Paul Chan. Since her controversial essay in Artforum in 2006, Claire Bishop has been one of the few to challenge the political and aesthetic ambitions of participatory art. In Artificial Hells, she not only scrutinizes the emancipatory claims made for these projects, but also provides an alternative to the ethical (rather than artistic) criteria invited by such artworks. Artificial Hells calls for a less prescriptive approach to art and politics, and for more compelling, troubling and bolder forms of participatory art and criticism.
'Living as Form' grew out of a major exhibition at Creative Time in New York City. Like the exhibition, the book is a landmark survey of more than 100 projects selected by a 30-person curatorial advisory team; each project is documented by a selection of colour images.
How we experience space by listening: the concepts of aural architecture, with examples ranging from Gothic cathedrals to surround sound home theater. We experience spaces not only by seeing but also by listening. We can navigate a room in the dark, and "hear" the emptiness of a house without furniture. Our experience of music in a concert hall depends on whether we sit in the front row or under the balcony. The unique acoustics of religious spaces acquire symbolic meaning. Social relationships are strongly influenced by the way that space changes sound. In Spaces Speak, Are You Listening?, Barry Blesser and Linda-Ruth Salter examine auditory spatial awareness: experiencing space by attentive listening. Every environment has an aural architecture.The audible attributes of physical space have always contributed to the fabric of human culture, as demonstrated by prehistoric multimedia cave paintings, classical Greek open-air theaters, Gothic cathedrals, acoustic geography of French villages, modern music reproduction, and virtual spaces in home theaters. Auditory spatial awareness is a prism that reveals a culture's attitudes toward hearing and space. Some listeners can learn to "see" objects with their ears, but even without training, we can all hear spatial geometry such as an open door or low ceiling. Integrating contributions from a wide range of disciplines—including architecture, music, acoustics, evolution, anthropology, cognitive psychology, audio engineering, and many others—Spaces Speak, Are You Listening? establishes the concepts and language of aural architecture. These concepts provide an interdisciplinary guide for anyone interested in gaining a better understanding of how space enhances our well-being. Aural architecture is not the exclusive domain of specialists. Accidentally or intentionally, we all function as aural architects.
Bland is anathema to Carlos Mota. As he travels the world--from Lisbon to Tangier, India to Santo Domingo, New York to Paris--producing feature stories and ad campaigns for countless publications and companies, he exults in every spark of originality and creativity he sees. Fortunately for us, he not only documents his sightings with his camera but also collects images by a Who's Who of interiors and architectural photographers. And in this volume, he has culled some 280 of his favorite images, all wholly different but all sharing one quality: the beauty of color, both literally and figuratively. There are interiors, table settings, fabric swatches, tiles, floral arrangements, sculptures, architectural ornamentation--whatever captures his discriminating eye. Peppered with quotes about color and beauty by a host of designers, Beige Is Not a Color is the antithesis of bland and as aspirational as it is inspirational.
A spectacular retrospective of the profoundly influential photographer Rankin’s extraordinary thirty-year career on the cutting edge of fashion and pop culture. A photographer who defined the aesthetics and attitudes of the 1990s and 2000s, Rankin’s influence continues to be seen everywhere, from fashion editorials to cinematography, graphic design, and music videos for artists from Iggy Azalea to Miley Cyrus. Edited by the photographer himself, and drawing from thirty years of work, this is the first retrospective of Rankin’s full career. From early provocative portraiture in the late 1980s, through his founding with Jefferson Hack of the fashion bibles of the 1990s and 2000s, Dazed & Confused and AnOther Magazine, to his pioneering of independent television and film through Hunger and his iconic monographs on Heidi Klum and Rosie Huntington-Whiteley, Rankin’s work hasdefined the face of popular culture for generations. Presented in reverse chronology, with a nod to a continuing spirit of contradiction, Unfashionable moves from Rankin’s most iconic portraiture and documentary work through his nudes, his groundbreaking fashion work, and back to his earliest Polaroids. With contributions from Rankin and several of his influences, peers, subjects, and admirers, this is the definitive look at one of the most profound influences on fashion and photography working today.
Snapshots of the downtown and East Village drag scene of the late 1980s and early 1990s
A beautiful, wordless graphic novel about feeling lost . . . and trying to get back to the place where you think you should be. What happens when you're trapped in the darkness, in emotional pain and turmoil? How can you make your way through that anguish and find joy again? In wordless black-and-white illustrations, John Cei Douglas empathetically shows the struggle to communicate how things feel when we get lost, and the wrenching loneliness that comes with mental-health struggles. His poignant images show a woman, sad and alone, as she drifts powerlessly across a vast and empty universe . . . till she finds her way home. A quietly beautiful meditation on the seemingly endless paths we wander just to be able to return to where we think we should be, All the Places in Between is a comforting reminder that you're not alone on your journey.