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William Eggleston's Guide was the first one-man show of colour photographs ever presented at The Museum of Modern Art, New York, and the Museum's first publication of colour photography. The reception was divided and passionate. The book and show unabashedly forced the art world to deal with colour photography, a medium scarcely taken seriously at the time, and with the vernacular content of a body of photographs that could have been but definitely weren't some average person's Instamatic pictures from the family album. These photographs heralded a new mastery of the use of colour as an integral element of photographic composition. Bound in a textured cover inset with a photograph of a tricycle and stamped with yearbook-style gold lettering, the Guide contained 48 images edited down from 375 shot between 1969 and 1971 and displayed a deceptively casual, actually superrefined look at the surrounding world. Here are people, landscapes and odd little moments in and around Eggleston's home town of Memphis - an anonymous woman in a loudly patterned dress and cat's eye glasses sitting, left leg slightly raised, on an equally loud outdoor sofa; a coal-fired barbecue shooting up in flames, framed by a shiny silver tricycle; the curves of a gleaming black car fender, and someone's torso; a tiny, grey-haired lady in a faded, flowered housecoat, standing expectant, and dwarfed in the huge dark doorway of a mint-green room whose only visible furniture is a shaded lamp on an end table. For this edition of William Eggleston's Guide, The Museum of Modern Art has made new colour separations from the original 35mm slides, producing a facsimile edition in which the colour will be freshly responsive to the photographer's intentions.

This catalog accompanies Edi Hila: Painter of Transformation, the first retrospective exhibition devoted to the Albanian painter Edi Hila, considered one of the last masters from Eastern Europe. Through Hila’s eyes, the Eastern European experience is stripped of accident or adventure and instead gives weight to distilled general truths.The catalog traces key moments from his formative artistic experience, including a firsthand account of his infamous 1972 painting, Planting of Trees, which because of its unusual use of color and form that ran contrary to approved socialist realist doctrine, led to his being forced to labor in a poultry processing plant. In the evenings, however, he secretly created a series of drawings documenting the life of the workers, which became the Poultry series, harrowing in its raw realism. The publication continues to track Hila’s practice through the 1990s, when we find the artist carefully observing life after the fall of Enver Hoxha’s regime and his attempts at depicting the realities of the Albanian transformation on the precipice of the new millennium, before concluding with a review of Hila’s contemporaneous practice, which discloses more the limitations and traps of transformation than its promises. Richly illustrated with reproductions of Hila’s work in full color, many of them never before published, this is a groundbreaking catalog, one that will help establish Hila’s international reputation as a master painter of the region and Europe at large.

A timeless tribute to nautical knitwear—crafted for today and cherished for generations.Inspired by the rugged beauty and enduring traditions of 19th- and early 20th-century Scandinavian seafarers, this stunning volume offers 23 knitting patterns drawn from the photographic archives of the Maritime Museum in Helsingør, Denmark.With designs for adults and children, each pattern blends historical authenticity with modern wearability—making this a perfect gift for knitters, history lovers, and anyone drawn to the elegance of Nordic craft.Specially designed for advanced beginners to expert knitters, the book features: Clear, easy-to-follow instructions with skill-building progression Gender- and age-neutral garments for the whole family Size variations and stitch explanations tailored for accessibility Gorgeous historic and contemporary photography of each sweater Beautifully packaged and richly illustrated, Nordic Sailors' & Fishermen’s Sweaters is more than a pattern book—it’s a celebration of maritime heritage, textile artistry, and the enduring warmth of handmade tradition.

OBJECT:PHOTO shifts the dialogue about modernist photography from an emphasis on the subject and the image to the actual photographic object, created by a certain artist at a particular time and present today in its unique physicality. This shift is especially significant for a study of the period during which photography developed a distinctive formal language. A growing awareness of the rarity of images made between the two world wars has altered historians’ considerations, encouraging new approaches privileging the originality of each work and the density of references each contains. This richly illustrated publication culminates a four-year collaborative research endeavor between The Museum of Modern Art’s Departments of Photography and Conservation, and nearly 30 visiting scholars, on the material and aesthetic evolution of avant-garde photography in the early twentieth century. The 341 modernist photographs known as The Thomas Walther Collection, a major museum acquisition made in 2001, is presented in its entirety, establishing a new standard of depth for the medium. Essays by curators, researchers, and conservators consider the history of collecting from this era to the present and how deepening knowledge has shifted the perspective on the medium; the material facts of the Walther pictures as a baseline for understanding the development of photographic materials in this era; and how the intellectual formation of the writers of critical photographic publications of the era and the societal and cultural pressures of that historical moment inflected the photography’s sense of its own history. Together with thematic, object-based case studies of groups of pictures that demonstrate new approaches in specific, divergent examples, these contributions reanimate the dialogue on this formative era in photography.

This book sheds light on an as-yet unstudied aspect of The Museum of Modern Art’s (MoMA) preeminent role in establishing the definition of the problematic term “Latin American art” in the United States from the 1930s to the present through its collection displays. In examining the shifting categorization of Latin American works according to stylistic and geographic taxonomies, we gain a greater understanding of the organization of the Museum’s collections as a whole during the 1940s and 1950s. This book is the first to document these institutional precedents, crucial for the understanding of the articulation of a Modernist canon and its contested legacy today.The MoMA is widely recognized as the preeminent institution that defined 20th-century art through its collection – shaping our understandings of the history of art, with its hierarchies and exclusions, as they sediment over time. MoMA’s holdings of art from Latin America shed light on a key period when the stylistic categories that have since come to be accepted by many today as the Modernist canon developed. MoMA’s collection displays suggest ways in which artists from areas of the world formerly excluded can be incorporated within today’s increasingly global museums. MoMA’s approach may be compared to initiatives adopted by several museums since the 2000s, creating geographically defined curatorial positions as a way to redress gaps in collecting art from Latin America and other areas of the world. In this book, author Miriam M. Basilio Gaztambide offers a closer study of the history of collection displays as a means to understand canon formation in modern art museums.This work will be of interest to those researching Latin American, American, modern, and contemporary art, and curatorial and museum studies.

Workspheres is the catalogue of MoMA's Spring exhibition devoted to the way we work and the role of design in creating effective solutions for work tools and environments in the near future. The exhibition features nine concepts for work tools and environments designed to represent solutions to the specific needs of nine unique sets of work ambitions, problems, skills and requirements. Each has been assigned to individual teams of architects and designers and is based on extensive research in consultation with an international advisory group. This catalogue not only represents the exhibition, but also expands upon it. While the main body of the volume is devoted to the nine models, the history of workplace design and an analysis of offices, both national and global, will also be included in a series of six essays by internationally known designers. In addition to history and cultural differences, the publication also addresses such themes as individuality within a work organization, communication design, interface design, and the impact of digital technologies on different professions.

Correspondence detailing the collaboration-cum-collision between Frank Lloyd Wright and the Museum of Modern Art, New York, about the staging of a retrospective work, and the publication of a book to accompany it, is published here for the first time, including a controversial piece by Walter Curt Behrendt.

This is one of a series of books on modern art created to help very young people learn the basic vocabulary used by artists, a sort of ABC of art. This book isolates the key elements of place to see how places are depicted by artists and how they help to convey meaning in art. Notes at the back of each book provide brief background information that adults will find useful when talking with children about the images reproduced in these books.

Hailed as the most successful and inspiring exhibition of photography ever assembled The Family of Man opened at The Museum of Modern Art in January 1955. This book, the permanent embodiment of Steichen’s monumental exhibition, reproduces all of the 503 images that Steichen described as “a mirror of the essential oneness of mankind throughout the world... Photographs, made in all parts of the world, of the gamut of life from birth to death... Photographs of lovers and marriage and child-bearing... Photographs concerned with man’s dreams and aspirations and photographs of the flaming creative forces of love and truth and the corrosive evil inherent in the lie.” This is a classic and inspiring work, in print for more than forty years.

A collaboration with Gordon; a collection of images and texts from the past forty years that deal with the idea of visual memory, shared visual knowledge and the interwoven texture of imagined and remembered sounds and images. Also explores the relationship between film and psychoanalysis, and the way these systems of thought have affected the idea of individual biography.

Extensive holdings of contemporary art produced from 1980 until now are showcased in this updated and revised edition. This edition provides an international spectrum of more than 580 works of key contemporary art in a variety of mediums, including 36 new works that have been added to the MoMA collection since 1999.

This is the first book to present an overview of the best Spanish architecture in the 21st century. Featuring 35 important architectural projects that will actually be in construction in 2006, the book reflects the geographic and generational diversity of the current wave of new projects and their architects, as well as a wide range of scales, from a private house to a new international airport.

The Photographer’s Eye, available again after some years out of print, offers a guide to the medium’s visual language through works by such early masters as Atget, Cartier-Bresson, Evans, Strand and Weston. In this re-issue, 172 illustrations reveal the extraordinary range of the photograph from the early days of the medium’s development to the mid-1960s. They are accompanied by an essay from Szarkowski, one of the most influential photography curators and critics of our time.

Dada: The Collections of The Museum of Modern Art is the first publication devoted exclusively to MoMA’s unrivalled collection of Dada works. Beginning with a core group acquired on the occasion of the landmark Fantastic Art, Dada and Surrealism exhibition of 1936, enriched in 1953 by a bequest selected by Marcel Duchamp, and steadily augmented over the years, the Museum’s Dada collection presents the movement in its full international and interdisciplinary scope during its defining years, from 1916 through 1924. Catalyzed by the major Dada exhibition that appeared in Paris, Washington, D.C., and at The Museum of Modern Art in 2005–6, the book benefits from the latest scholarly thinking, not only as found in the exhibition’s catalogues but also in the critical responses to them, as well as in an ambitious series of seminars organized around the show. Featuring generously illustrated essays that focus on a selection of the Museum’s most important Dada works, this publication highlights works in many media, including books, journals, assemblages, collages, drawings, films, paintings, photographs, photomontages, prints, readymades and reliefs. It also includes a comprehensive catalogue of the Museum’s Dada holdings, including those in the Museum’s Archives and Library. Edited by Anne Umland and Adrian Sudhalter, members of the Museum’s Department of Painting and Sculpture, this book inaugurates an ambitious new series of scholarly catalogues on the Museum’s collection.

This now classic portrait of Douglas Fairbanks - the swashbuckling original King of Hollywood - was first published in 1940. Long out of print and hard to find, Alistair Cooke's posthumous biography was the first serious consideration of the career of the great silent screen star and husband of America's sweetheart, Mary Pickford. Reissued here in a facsimile edition, Douglas Fairbanks: The Making of a Screen Character treats, step by step, the course of Fairbanks' career, and sheds light on the mysterious ingredients of screen popularity and on the history of motion pictures generally. Alistair Cooke, the distinguished journalist and broadcaster, was assistant to Charlie Chaplin when he met Iris Barry, MoMA's first film curator, in 1938. Barry invited Cooke to participate in the Museum's groundbreaking film course at Columbia University and commissioned him to write Douglas Fairbanks: The Making of a Screen Character.

To celebrate the 50th Anniversary and the 500th issue of the French film journal Positif - voila! A pre-eminent film magazine since its inception, the monthly Positif has always been at the forefront of critical thought, discerning trends in cinema as they are happening. With over fifty articles covering some of the most notable films of the past fifty years, this compendium reveals how the magazine accomplished that very feat throughout its existence. Read Bernard Chardere on Luis Bunuel's Los Olvidados, Paul-Louis Thirard on Maurice Burnan, Robert Benayoun on Frederico Fellini, and other critics on flicks from The African Queen and Hiroshima mon Amour to Reservoir Dogs. With an introduction by Michel Ciment, Positif's editor, and articles by distinguished critics and practitioners, this compilation pays tribute to both the importance of films and the lasting value of Positif.

Henri Matisse, Pablo Picasso, Joan Miró and Andy Warhol each significantly shaped the development of art in the 20th century. These modern masters are the subjects of four small books, the first volumes in a series featuring important artists in the collection of The Museum of Modern Art. Each book presents a single artist and guides readers through a dozen of his most memorable achievements. Works are reproduced in colour and accompanied by informative and accessible short essays that provide background on the artworks and on the artist himself, illuminating technique, style, subject matter and significance. Written by Carolyn Lanchner, former curator of painting and sculpture at the Museum, these books are excellent resources for readers interested in the stories behind masterpieces of the modern canon and for those who wish to understand the contributions of individual artists to the history of modern art.

Dutch artist Aernout Mik’s moving-image installations meld filmmaking, sculpture and architecture into experiences that are at once compelling, unsettling, peculiar and plausible. The artist designs and constructs architectural spaces that hold his moving images, making the viewer’s physical relationship to his work a critical component of the overall experience. By interrogating the most basic ideas of narrative and reality and rejecting classical cinematic ideals, Mik creates works that are rich in allusion but subversive of codes. Published to accompany the artist’s first US retrospective, this volume is a vivid exploration of Mik’s work and process. Laurence Kardish, MoMA’s Senior Curator in the Department of Film, discusses the unique, creative aspects of Mik’s installations that extend the traditional boundaries of media, while Michael Taussig, professor of anthropology at Columbia University, investigates how the artist’s work changes the way we see reality while reinforcing the norms of visual culture. Abundantly illustrated with stills and the artist’s own drawings of works in the exhibition, Aernout Mik features detailed descriptions of the installations, an exhibition history and a bibliography, making it the most comprehensive volume about Mik and his work available in English.

Compass in Hand brings together approximately 250 works from the Judith Rothschild Foundation’s extraordinary gift of drawings to The Museum of Modern Art, in 2005. Formed by Harvey S. Shipley Miller, the Foundation’s trustee, the collection comprises over 2,500 works on paper by more than 650 artists and was conceived to be the widest possible cross-section of contemporary drawing made primarily within the past twenty years. An extended essay by Christian Rattemeyer highlights the primary curatorial concepts and categories of the collection and a conversation between Harvey S. Shipley Miller and Gary Garrels, former Chief Curator of the Department of Drawings at MoMA, recounts the objectives and processes through which the collection was originally formed, providing a unique panorama on the state of drawing today.

Formed by Harvey S. Shipley Miller, trustee of the Judith Rothschild Foundation, and given to MoMA in 2005, The Judith Rothschild Foundation Contemporary Drawings Collection was conceived to be a broad survey of contemporary drawing practice, and it more than fulfils that goal, mixing drawings of the 1960s and 1970s with major works of the past twenty years by such artists as Kai Althoff, Robert Crumb, Peter Doig, Marcel Dzama, Mark Grotjahn, Charline von Heyl, Martin Kippenberger, Sherrie Levine, Agnes Martin, Fred Sandback, Paul Thel and Andrea Zittel, among many others. This definitive catalogue raisonné presents the collection as a whole, with an introduction by Christian Rattemeyer; five essays each focusing on a different geographic area of artistic production; images throughout; and a text on paper conservation.