Owen Edwards – författare

With investigations into everything from black holes to exoplanets, the Hubble Telescope has changed not only the face of astronomy but also our very sense of being in the universe. On the 30th anniversary of its launch into low-earth orbit, this updated edition of Expanding Universe presents 30 brand new images, unveiling more hidden gems from the Hubble’s archives. Ultra-high resolution and taken with almost no background light, these pictures have answered some of the most compelling questions of time and space while also revealing new mysteries, like the strange “dark energy” that sees the universe expanding at an ever-accelerating rate. The collection is accompanied by an essay from photography critic Owen Edwards and an interview with Zoltan Levay, who explains how the pictures are composed. Veteran Hubble astronauts Charles F. Bolden, Jr. and John Mace Grunsfeld also offer their insights on Hubble’s legacy and future space exploration.

The photography of Julius Shulman (1910–2009) transported a West Coast dream around the world. His images of midcentury Southern Californian architecture captured not only the distinctive structural, functional, and design elements of a building but also the context of its surroundings and inhabitants in a holistic, evocative sense of lifestyle. Over time, Shulman’s talents would take him around the world, steadily crafting one of the most compelling chronologies of modern architecture.Offering an immense cultural cache for an even lower price, this fresh edition of TASCHEN’s Modernism Rediscovered features over 400 architectural treasures from the Shulman archives. Each project and photograph was personally selected from over 260,000 photographs by publisher Benedikt Taschen, who enjoyed a close relationship with Shulman and his work since first publishing Julius Shulman: Architecture and Its Photography (1998). Documenting the reach of modernist aesthetics, the projects span not only the West Coast but also the rest of the United States, as well as Mexico, Israel, and Hong Kong, all captured with Shulman’s characteristic understanding of space and situation, as well as his brilliant and intuitive sense of composition.The pictures are contextualized with an introduction by photography critic Owen Edwards, an extensive biography by University of Southern California historian Philip J. Ethington, captions on decorative elements by Los Angeles Modern Auctions founder Peter Loughrey, and biographies of key architects. In addition, the book includes personal reflections from Shulman himself, with an oral history and portrait of the period crafted via months of interviews with arts writer Hunter Drohojowska-Philp.

Artist, diarist, collector, and writer Peter Beard (1938-2020) fashioned his life into a work of art; the illustrated diaries he kept from a young age evolved into a serious career as an artist and earned him a central position in the international art world. He collaborated with Francis Bacon and Salvador Dalí, he made diaries with Andy Warhol, worked on books with scientists like Dr. Norman Borlaug, Dr. Richard Laws, and Alistair Graham, and toured with Truman Capote, Terry Southern, and the Rolling Stones—all of whom are brought to life, literally and figuratively, in his work. He delved into the world of fashion for its beautiful women, taking Vogue stars like Veruschka to Africa and bringing new ones back to the U.S. with him.After spending time in Kenya and striking up a friendship with the author Isak Dinesen (Karen Blixen) in the early 1960s, Beard bought 50 acres next to her farm with the stipulation that he would film and write about the land and its flora and fauna. He witnessed the dawn of Kenya’s population explosion, which challenged finite resources and stressed animal populations—including the starving elephants of Tsavo dying by the tens of thousands in a wasteland of eaten trees. So he documented what he saw—with diaries, photographs, and collages. He went against the wind in publishing unique and sometimes shocking books of these works, including The End of the Game. The corpses were laid bare; the facts carefully recorded, sometimes in type and often by hand. Beard used his photographs as a canvas onto which he superimposed multi-layered contact sheets, ephemera, found objects, newspaper clippings that are elaborately embellished with meticulous handwriting, old-master inspired drawings, and often swaths of animal blood used as paint.