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Paul Rand
by Steven Heller
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Hardcover - 240 pages
Publication date: (May 1999)
Phaidon Press Inc.
Dimensions (in inches): 1.39 x 11.72 x 10.21
ISBN: 0714837989

Envisioning Information
by Edward R. Tufte
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Hardcover / Published by Graphics Press
Publication date: May 1990
Dimensions (in inches): 10.86 x 8.90 x .73
ISBN: 0961392118

Visual Explanations: Images and Quantities, Evidence and Narrative
by Edward R. Tufte
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Hardcover, 156 pages
Published by Graphics Press
Publication date: March 1, 1997
Dimensions (in inches): 10.80 x 8.91 x .89
ISBN: 0961392126

The Visual Display of Quantitative Information
by Edward R. Tufte
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Reprint Edition / Hardcover
Published by Graphics Press
Publication date: February 1992
Dimensions (in inches): 10.81 x 8.98 x .87
ISBN: 096139210X

Creating Killer Web Sites: The Art of Third-Generation Site Design
by David Siegel
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2 Edition
Paperback, 272 pages
Published by Hayden Books
Publication date: July 1, 1996
Dimensions (in inches): 10.02 x 8.06 x .59
ISBN: 1568302894

Paul Rand : A Designer's Art
by Paul Rand
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Published by Yale University Press
Publication date: September 1988
ISBN: 0300042132

Design Form and Chaos
by Paul Rand
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Hardcover, 218 pages
Published by Yale University Press
Publication date: April 1, 1993
Dimensions (in inches): 10.31 x 7.79 x .78
ISBN: 0300055536

Ingres in Fashion
by Aileen Ribeiro
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The sumptuous "Ingres in Fashion" should delight fashion mavens and history buffs as surely as any art lover. The companion catalog to a traveling exhibition of Ingres's paintings, the book is filled with images in which the intricate gowns, carefully chosen jewelry, complex hairstyles, and rich upholstery are as important to the portrait as the sitter herself.

John Singer Sargent
edited by Elaine Kilmurray and Richard Ormond
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John Singer Sargent's paintings are currently on view at the National Gallery of Art in Washington, D.C., and will travel to Boston's Museum of Fine Arts this summer. The companion exhibition catalog displays the breadth of Sargent's subject matter, from his most famous portraits to his landscapes and murals, in which he often experimented with different painting styles and strayed from his usual oil paints to use other media such as watercolor.

Modern Times, Modern Places
by Peter Conrad
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http://www.amazon.com/exec/obidos/ASIN/037540113X/ref=ad_aa2
Critic Peter Conrad has spent the greater part of his career exploring the artistic, literary, scientific, and social landscapes of the last hundred years. His monumental "Modern Times, Modern Places" is a travelogue of sorts in which Conrad's careful notes and lucid observations about his travels are combined to assess, celebrate, and--where appropriate--mourn the achievements and failures of the modern age.

IN FOCUS
********
Photographers Bruce Davidson and Garry Winogrand roamed the same streets of Manhattan during one of the country's most socially turbulent decades. The two turned their cameras to visually diverse subjects, yet the underlying themes are very similar. Davidson's portraits of the members of a Brooklyn street gang and Winogrand's images of chance moments in everyday life helped articulate the mood of 1960s America. Winogrand captured a long-haired young man in a corduroy jacket and carrying a fringed bag emerging from a group of conservatively dressed, middle-aged fellow walkers. Davidson caught many of his subjects as they teetered in the balance between innocence--not just of childhood but of the preceding era--and a consciousness that would forever destroy that world. These are two important books for those interested in contemporary photography and photojournalism.

Brooklyn Gang
by Bruce Davidson
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The Man in the Crowd
by Garry Winogrand
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The American Century: Art and Culture 1900-1950
by Barbara Haskell
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The Whitney Museum of American Art is, it seems, the latest victim of millennial fever: on April 23, 1999, it kicks off its massive retrospective of 20th-century art. "The American Century: Art and Culture 1900-1950" is the first installation of a two-part exhibition catalog, and it covers the period during which American artists ended their affair with the visual excesses of the last century and turned their attention toward modernism's cool allure.

Aubrey Beardsley
by Matthew Sturgis
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Leonardo's Nephew
by James Fenton
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S,M,L,XL
by Rem Koolhaas and Bruce Mau
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This extraordinary, massive, and mind-boggling 1,300-page book combines essays, manifestos, diaries, fairy tales, travelogues, a cycle of meditations on the contemporary city, and complex illustrations with work produced by Koolhaas's Office for Metropolitan Architecture over the past 20 years. This almost overwhelming accumulation of words and images illuminates the condition of architecture today--its splendors and miseries--exploring and revealing the corrosive effects of politics, context, the economy, and globalization. In some ways, this is the "Medium is the message" of 1990s architectural discourse: guaranteed to be hugely influential in the coming decades, but grossly misunderstood by those who have not read it. The core arguments it makes about metropolitan architecture--accepting complexity and lack of centralized control--are similar to those of Kevin Kelly's "Out of Control: The New Biology of Machines, Social Systems, and the Economic World."

Hirschfeld on Line
by Al Hirschfeld
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Al Hirschfeld is one of the greatest caricaturists ever to have put pen to paper, and this monumental retrospective is a testament to his genius. From '30s icons like actors Alfred Lunt and Lynn Fontaine to the stars of "Seinfeld," Hirschfeld's fluid line has limned some of the most enduring images of our favorite entertainers. The collection opens with a biographical essay by New York Times writer Mel Gussow that sketches the arc of Hirschfeld's career and the development of his reputation as a chronicler of American show business. Additional essays by Arthur Miller, Kurt Vonnegut, Whoopi Goldberg, and Hirschfeld's daughter Nina cast further light on the artist, but the bulk of the book is, of course, given over to his wonderful drawings. Hirschfeld has written that it is his aim to capture character, rather than caricature, and each of the hundreds of images reproduced here encapsulates its subject perfectly, without ever resorting to cruelty. After more than six decades, Hirschfeld has recorded the careers of generations of performers, and this collection further illuminates his work by including comments on each drawing by the artist himself, providing a delightful personal history of Broadway, Hollywood, and all points in between.

Dog Dogs
by Elliott Erwitt
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Nearly every one of the 500 black-and-white pictures in this book is a miraculous blend of composition and content, placing photographer Elliott Erwitt right up there with the other postwar, 20th-century masters of moment and meaning. Erwitt writes in his introduction, "This is not a book of dog pictures but of dogs in pictures." It is the photograph that counts, above and beyond its subject, for the photographer of genius. But Erwitt is bound to be called a sentimentalist because he photographs dogs, whom we, in our species-centric way, tend to think of as, well, animals. If Erwitt proves anything, however, it is that our close relationship with these furry fellow travelers is due to mutual resemblance. There is a Native American myth that when the world was created, a great fissure began to split the earth. Humans were caught on one side of the chasm, animals on the other. The dog, however, seeing the gap widen, leaped across to the human side, where he has been ever since. This book captures the pleasures of our loyal, dependent friends, as well as their sorrows and disappointment when they are forced to adapt to human callousness, neglect, or even love. Erwitt sees the dignity of the ankle-high Chihuahua; the anxiety of the homeless hound; the smugness of the adored dachshund, sitting on its chaise longue in the noonday sun; the patience of the pom-pommed poodle; and the gormless joy of a homely but well-loved pug. In his vast range of emotion, and in his easygoing but precise mastery of the abstract elements of composition, Elliott Erwitt has made himself the Cartier-Bresson of the canine world.

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