Evening drawing in, streets emptying, lovers of night life strolling along, dancing or playing; festive lights flickering, the melancholy sight of bars closing, sleep elusive still, violence exploding: fifty of the finest photographers capturing all aspects of night, worldwide.

NASA launches a yearlong celebration of its 50th anniversary in the fall of 2007, and Abrams is privileged to publish this visual history of its many achievements in manned and unmanned space travel. Written and edited by a team of experienced NASA staffers, and illustrated with many unpublished and rare photographs from the voluminous NASA archives scattered across the country, America in Space offers an unparalleled vision of half a century of exploration and discovery.
The story of America’s space age is told with more than 400 carefully selected images. The story begins in the 1950s with intrepid test pilots venturing ever faster and higher, and opens out into the now-legendary Mercury and Apollo missions of the 1960s that made astronauts into national heroes. The space shuttle era shows us what everyday space travel might look like, while grand vistas of the universe expand our sense of wonder. The large format of the book captures both the human drama and the vast scale of NASA’s projects. America in Space is a photographic record of the greatest adventure of our time.

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This consideration of Hockney's work from 1960 to the early nineties dispels myths and opens up new lines of inquiry concerning his contributions to post-modern art. Filled with beautiful colour plates of his paintings, the book draws on extensive research and the artist's personal archives. In a broad chronological format, the book reveals the major phases in Hockney's oeuvre: his early years as a student at the Royal College of Art in London and his ironic experimentation with different styles of painting; his images of life in southern California; his highly personal portraits and their studies in perspective; his reinterpretations of modernist paintings; and his forays into photo-collage. The authors' incisive commentary reveals how Hockney's paintings question, parody and undermine accepted ideas about modern art, while forcing us to reconsider our assumptions about originality and creativity.

The term Minimalism was coined to describe the work of a group of American artists who, in the 1960s, produced a decidedly unexpressionistic, reductive work with a hard industrial feel. While numerous minimalist painters exist, among them Robert Ryman, Robert Mangold and Brice Marden, most of the key Minimalists - Andre, Flavin Judd, LeWitt and Morris - produced sculptures or, as some put it, 'specific objects' or 'objects in a world of objects'. Although none of the artists actually accepted the term 'Minimalism', their common use of serial, modular or repeating forms (from Carl Andre's floor sculptures of readymade bricks or Judd's stacked boxes), as well as the abstraction and industrial production of the work, drew these artists' work together. These artists' aim was to create an art that was non-hierarchical (no single part of the work takes precedence of any other) and thus democratic. In his introductory Survey, James Meyer explains the key characteristics and issues involved in this much-debated movement, while the extensive images in the Works section, with explanatory commentary, illustrate the surprising variety in the work and offer a view of the many artists also associated with Minimalism, among them Eva Hesse, Frank Stella, Anne Truitt, Robert Smithson and Agnes Martin. With direct access to many of the artists' archives, never-before-published material and texts which first appeared in little-known or out-of print catalogues, this book is the most comprehensive and definitive sourcebook on Minimalism available.

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Fascinating, paradoxical Cuba has a long and colorful history. Discovered by Columbus in 1492, the island was one of imperial Spain's first footholds in the New World and its last colony there. From the sack of Santiago by English freebooters in 1662 to Teddy Roosevelt's charge up San Juan Hill to Castro's revolution and the 1962 missile crisis, Cuba's turbulent past and difficult present belie its tropical beauty and the joyous, ebullient, resourceful people who spice its multiethnic melting pot.
David Alan Harvey's superb, richly evocative photographs celebrate the place itself and its extraordinary inhabitants: their vitality and humor, their ingenuity and courage, and above all their indefatigable spirit. Complementing Harvey's compelling images, Elizabeth Newhouse's insightful text presents an overview of Cuban history and, drawing on conversations with men and women from many walks of life, describes what it is like to live in Cuba now and looks at what might be expected for the future.
Shunned by the United States and impoverished since the Soviet Union cut it loose in 1991, Cuba is in the throes of a painful transition as it struggles to uphold a 40-year-old revolution that began with high hopes but seems now on the verge of failure. To survive their economic plight, the Cuban people must call on all the creativity and resourcefulness for which they are famous, especially in their never ending scramble for U.S. dollars. But in spite of their economic woes, they remain as welcoming and as winning as ever. This unforgettable portrait captures the uniquely Cuban spirit and the lovely, lush Caribbean landscape, which have seduced and delighted visitors for centuries.

优良的、真正的画册

Legendary photographer William Klein is well known in the U.S. for his groundbreaking style of gritty, expressionistic images of street scenes and fashion culture. But the French revere the American-born Klein -- who's lived in Paris since 1946 -- for his revolutionary avant-garde films, all of which he wrote and directed, and often produced.Imagine whimsical Woody Allen crossed with Spike Lee, and situated in the late 60s. With such classics as Mr. Freedom, Qui Etes-vous Polly Maggoo?, Le Couple Temoin, and Muhammad Ali: The Greatest, Klein's films blazed a broad trail of cultural dislocation, black nationalism, and misplaced trust in authority and the notion of progress.

Portrait photographer extraordinaire
I'm not so much interested in documenting as in expressing my impressions of the individuals with the constantly expanding narrative means of my medium. —Arnold Newman
Piet Mondrian behind his easel, Igor Stravinsky at his piano, Max Ernst sitting smoking on his throne-like chair: the photographs of Arnold Newman (1918-2006) are classics of portraiture. His subtle arrangements constituted the foundations of "environmental portraiture." His photographs integrate the respective artist's characteristic equipment and surroundings, thus indicating his or her field of activity. The enormous fame of Newman's portraits can be ascribed to their daring compositions and sometimes astounding spatial structures.
The photographer's beginnings, however, were none too promising. During the Great Depression, Newman had to abandon his art studies for financial reasons. Between 1938 and 1942 he concentrated on socio-documentary photography in the ghettos of West Palm Beach, Philadelphia, and Baltimore. One might think that being forced to earn his living in a photography studio would have stifled his artistic potential: Newman portrayed up to 70 clients a day. Yet he still succeeded in developing a very personal touch and establishing himself in the New York art scene of the early 1940s. His subjects included Marcel Duchamp, Marc Chagall, Jackson Pollock, Willem de Kooning, and Alexander Calder among many others. With his unmistakable style, Newman became the star photographer of artists, writers, and musicians.