Lucy Sante

"In 1933, Walker Evans traveled to Cuba to take photographs for The Crime of Cuba, a book by the American journalist Carleton Beals. Beals's explicit goal was to expose the corruption of Cuban dictator Gerardo Machado and the long, torturous relationship between the United States and Cuba.". "As novelist and poet Andrei Codrescu points out in the essay that accompanies this selection of photographs from the Getty Museum's collection, Evans's photographs are the work of an artist whose temperament was distinctly at odds with Beals's impassioned rhetoric. Evans's photographs of Cuba were made by a young, still maturing artist who - as Codrescu argues - was just beginning to combine his early, formalist aesthetic with the social concerns that would figure prominently in his later work."--BOOK JACKET.

Born in a factory town in southern Belgium in 1954, he was brought by his parents to the United States as a small child. Not quite knowing where he belonged, Sante grew up split: half in the old world, half in the new one, and resentful of both. His native land became ever more an abstraction, until he revisited it at age thirty-five. Suddenly he felt "as if I were taking a walking tour of my subconscious.". So Sante becomes a detective, digging for clues to his childhood, to the lives of his parents, to the murky traces of his ancestors. He examines the social history of his native town, Verviers, which turns out to have been the home of his forebears for a millennium - a harsh industrial city, the birthplace of anarchists, autodidacts, and violin prodigies. And he looks at Belgium itself, an "artificial" country, "cast under the sign of ambivalence."

At a club in Missing Mile, N.C., the children of the night gather, dressed in black, looking for acceptance. Among them are Ghost, who sees what others do not. Ann, longing for love, and Jason, whose real name is Nothing, newly awakened to an ancient, deathless truth about his father, and himself. Others are coming to Missing Mile tonight. Three beautiful, hip vagabonds - Molochai, Twig, and the seductive Zillah, whose eyes are as green as limes are on their own lost journey, slaking their ancient thirst for blood, looking for supple young flesh. They find it in Nothing and Ann, leading them on a mad, illicit road trip south to New Orleans. Over miles of dark highway, Ghost pursues, his powers guiding him on a journey to reach his destiny, to save Ann from her new companions, to save Ann from her new companions, to save Nothing from himself... Lost Souls is a 1992 horror novel by American writer Poppy Z. Brite, his first one. It is the only novel-length adventure of Brite's 'Steve and Ghost' characters, popularized in numerous short stories. The novel is an extended version of the short story "The Seed of Lost Souls".

Luc Sante's Low Life is a portrait of America's greatest city, the riotous and anarchic breeding ground of modernity. This is not the familiar saga of mansions, avenues, and robber barons, but the messy, turbulent, often murderous story of the city's slums; the teeming streets--scene of innumerable cons and crimes whose cramped and overcrowded housing is still a prominent feature of the cityscape. Low Life voyages through Manhattan from four different directions. Part One examines the actual topography of Manhattan from 1840 to 1919; Part Two, the era's opportunities for vice and entertainment--theaters and saloons, opium and cocaine dens, gambling and prostitution; Part Three investigates the forces of law and order which did and didn't work to contain the illegalities; Part Four counterposes the city's tides of revolt and idealism against the city as it actually was. Low Life provides an arresting and entertaining view of what New York was actually like in its salad days. But it's more than simpy a book about New York. It's one of the most provocative books about urban life ever written--an evocation of the mythology of the quintessential modern metropplois, which has much to say not only about New York's past but about the present and future of all cities.

"For more than half a century, Annie Leibovitz has been taking culture-defining photographs. Her portraits of politicians, performers, athletes, businesspeople, and royalty make up a gallery of our time, imprinted on our collective consciousness by both the singularity of their subjects and Leibovitz's inimitable style. The catalogue to an installation at the LUMA Foundation in Arles, Annie Leibovitz: The Early Years, 1970-1983 returns to Leibovitz's origins. It begins with a moment of artistic revelation: the spontaneous shot that made Leibovitz think she could transition from painting to photography as her area of study at the San Francisco Art Institute. The meticulously and personally curated collection, including contact sheets and Polaroids, provides a vivid document both of Leibovitz's development as a young artist and of a pivotal era. Leibovitz's reportage-like photo stories for Rolling Stone, which she began working for when she was still a student, record such heady pol itical, cultural, and counter-cultural developments as the Vietnam War protests, the launch of Apollo 17, the presidential campaign of 1972, Richard Nixon's resignation in 1974, and the Rolling Stones on tour in 1975. Then, as now, Leibovitz won the trust of the prominent and famous, and the book's pages are animated by many familiar faces, among them Muhammad Ali, Mick Jagger, Keith Richards, Ken Kesey, Patti Smith, Bruce Springsteen, Joan Didion, and Debbie Harry, as well as John Lennon and Yoko Ono, captured in their now iconic embrace just hours before Lennon was assassinated. Throughout the book, the portraits and reportage are linked to images of cars, driving, and even a series on California highway patrolmen. In many ways, it's a celebration of life on the road--the frenetic rhythms, the chance encounters, the meditative opportunities. And with its rich archival aspects, it is also a tribute to an earlier time and a young photographer enmeshed in a culture that was itself in t ransition"--Publisher's description.

1 volume : 24 cm

When he is on the street armed with his camera, photographer David Godlis (born 1951) describes himself as ?a gunslinger and a guitar picker all in one.? Ever since he bought his first 35mm camera in 1970, Godlis has made it his mission to capture the world on film just as it appears to him in reality.00Godlis is most famous for his images of the city?s punk scene and serving as the unofficial official photographer for the Film Society of Lincoln Center. For 40 years, his practice has also consisted of walking around the streets of New York City and shooting whatever catches his eye: midnight diner patrons, stoop loiterers, commuters en route to the nearest subway station. With an acute sense of both humor and pathos, Godlis frames everyday events in a truly arresting manner.00This publication presents Godlis? best street photography from the 1970s and ?80s in a succinct celebration of New York?s past. The book is introduced by an essay written by cultural critic Luc Sante and closes with an afterword written by Blondie cofounder and guitarist Chris Stein.