Timeless, evocative and hauntingly beautiful: a retrospective monograph by a truly innovative image maker whose female gaze transformed fashion photography.

American photographer Deborah Turbeville defies classification. She belongs to no school or movement. Her unique visual signature has been recognizable since her emergence as a major talent in the 1970s. Her images are evocative, difficult to date at first glance, and seem dreamlike to our 21st-century eyes. Turbeville stands apart from her male contemporaries, whose hard-edged, highly sexualized photographs of women now seem to be of their time in comparison with Turbeville's very different representation of beauty.

This book focuses on the area of Turbeville's practice where her genius as an artist can be found: photocollage. In contrast to her contemporaries in fashion photography, she was deliberately playful with her images: xeroxing, cutting, scraping and pinning prints together, writing in the margins and creating narrative sequences. Her work is located far from single, glossy images. It inhabits a liminal zone between art and commerce.

Built upon extensive research in the Deborah Turbeville archive, the work shown spans commercial and personal projects, with many images published for the first time. With texts by Vince Aletti, Anna Tellgren and Felix Hoffmann, this book brings into the spotlight the ways in which Turbeville redefined fashion photography, moving away from the sexual provocation and stereotypes assigned by male photographers to an idea of femininity on her terms. Deborah Turbeville: Photocollage will be an essential publication with modern relevance for all with a passion for fashion photography.

永恒、引人遐想且美得令人沉醉：这是一本关于一位真正具有创新精神的影像创作者的回顾性专著，其女性视角彻底改变了时尚摄影的风格。

美国摄影师Deborah Turbeville与众不同，她不属于任何特定的流派或运动。她的独特视觉风格自 20 世纪 70 年代她成为一位重要艺术家以来就一直为人所熟知。她的作品富有感染力，乍一看难以确定创作时间，对我们 21 世纪的人而言，它们似乎带有梦幻般的色彩。Turbeville与她的男性同龄人有所不同，他们那些刻画女性硬朗、性感特征的照片，在与Turbeville对美的独特呈现相比之下，如今显得像是属于那个特定时代的产物。

这本书主要探讨了Turbeville艺术实践中的一个领域，即她的“照片拼贴”技法。与同时代的时尚摄影艺术家们不同，她对作品的处理方式充满趣味：通过复印、裁剪、刮刻和将照片粘贴在一起、在页边空白处书写以及构建叙事序列等方式。她的作品并非局限于单一的、光鲜亮丽的画面，而是游离于艺术与商业之间的一个过渡地带。

该作品基于对Deborah Turbeville档案的大量研究而成，涵盖了商业和个人项目，其中许多图片是首次公开发布。书中收录了Vince Aletti、Anna Tellgren和Felix Hoffmann的文稿。这本书将突出展示Turbeville如何重新定义了时尚摄影，摆脱了男性摄影师所赋予的性挑逗和刻板印象，转而以她自己的方式诠释了女性特质。《黛博拉·特贝维尔：照片拼贴》将是一部具有现代意义的重要著作，适合所有热爱时尚摄影的人阅读。

This book is an intimate account of the 20th century's most inventive color photographer, with letters, poems and photographs.

Writer Inge Bondi sheds fresh light on the life of her close friend and colleague, the Austrian American photographer Ernst Haas (1921–86), whom she first met in New York’s Magnum offices in 1951. Bondi shares unique memories of this brilliant and very private man alongside reproductions of his letters, poems, photographs and ephemera, revealing for the first time details of his harrowing war years and complex personal life. The book’s 13 chapters cover Haas’ Homecoming Prisoners of War story (1947), which prompted Robert Capa to invite him to join Magnum Photos; pioneering color reportage for Life and Vogue, featuring his blurred portraits of bull fighting and saturated images of New York; and his work on film sets, including The Bible, which led to the publication of Haas’ groundbreaking and acclaimed 1971 photobook The Creation.

本书是一部关于 20 世纪最具创新精神的彩色摄影师的生动记述，其中包括信件、诗歌和照片。

作家Inge Bondi对她的挚友兼同事、奥地利裔美国摄影师Ernst Haas（1921 - 1986）的生平进行了全新的解读。她于 1951 年在纽约的玛格南摄影工作室首次与Haas相识。Bondi分享了关于这位才华横溢且极为内敛的男士的独特回忆，同时还附上了他的信件、诗歌、照片和一些临时性物品的复制品，首次揭示了他那段痛苦的战争岁月以及复杂的人生经历的细节。这本书共有 13 个章节，涵盖了Haas的“战俘归乡记”（1947 年）这一故事（该故事促使Robert Capa邀请他加入玛格南摄影社）；为《Life》和《Vogue》杂志开创的色彩报道作品，其中包括他模糊的斗牛肖像和色彩浓郁的纽约照片；以及他在电影拍摄现场的工作，包括《The Bible》，这促使Haas于 1971 年出版了其开创性且广受赞誉的摄影集《The Creation》。

One of the most beloved painters of the twentieth century, Giorgio Morandi created works that continue to exert their mysterious power on viewers worldwide.

This publication focuses on the period from 1948 to 1964, during which Morandi developed and refined his investigations of serial, reductive, and permutational forms and compositions, a body of work that has had a profound influence on twentieth-century art and painting. Included here are five of the ten iconic “yellow cloth” paintings from 1952, a series featured prominently in the historic 1998 exhibition at the Peggy Guggenheim Collection in Venice, and numerous late paintings by the Italian master. Lavishly reproduced, these immersive plates draw attention to the idiosyncratic perspectival and color-driven decisions that give the work its abstract power. 

二十世纪最受人喜爱的画家之一乔治·莫兰迪所创作的作品，至今仍能深深吸引世界各地的观众，散发出一种神秘的魅力。

本书聚焦于 1948 年至 1964 年这一时期，期间莫兰迪不断深化并完善了他对序列式、减法式和置换式形式及构图的研究，这一系列作品对 20 世纪的艺术和绘画产生了深远的影响。其中收录了 1952 年的十幅标志性“黄色布料”画作中的五幅，这些作品在 1998 年于威尼斯佩吉·古根海姆收藏馆举办的具有历史意义的展览中占据了显著位置，还有这位意大利大师的众多晚期作品。这些精美的插图大幅展现了作品的独特透视法和色彩驱动的创作决策，凸显了作品的抽象力量。

Recent years have seen a renewed interest in the painter Lotte Laserstein (1898–1993), whose striking landscapes, portraits, self-portraits, and sensual nudes demonstrate her synthesis of traditional painting style and modern subject matter. Born in Germany and exiled to Sweden during the Nazi regime, Laserstein created a diverse and extensive body of work over five decades.

Incorporating essays on Laserstein’s work in Berlin before her exile and her reception in Sweden, images of her art, and unpublished archival material, this book furthers our understanding of the artist’s life and creative output. Iris Müller-Westerman and Anna-Carola Krausse include art from the whole of Laserstein’s career, including previously unpublished work. 

Shedding new light on Laserstein’s life and art, this book cements her reputation as one of the twentieth century’s great realists.

近年来，人们对画家Lotte Laserstein（1898 - 1993）的兴趣再度浓厚起来。她的作品包括引人注目的风景画、肖像画、自画像以及感官主义的裸体画，这些作品展现了她将传统绘画风格与现代主题相融合的创作理念。Lotte Laserstein出生于德国，在纳粹统治时期被流放到瑞典，她在五十年的时间里创作了丰富多样的作品。

本书收录了关于Laserstein在柏林遭流放前的作品、其在瑞典的接受情况的文章，还有她的艺术作品图片以及未出版的档案资料，从而进一步加深了我们对这位艺术家的生活和创作成果的理解。Iris Müller-Westerman和Anna-Carola Krausse收录了Laserstein整个职业生涯中的艺术作品，包括此前未曾发表的作品。

这本书为Laserstein的生平与艺术提供了新的视角，进一步巩固了她作为二十世纪杰出现实主义作家的地位。

Revealing the vital influence of the French artist Marie Laurencin, her visual idiom, and her sexual expression on the modernism of twentieth-century Paris.

This book offers a long-overdue reassessment of the career of the Parisian-born artist Marie Laurencin (1883–1956), who moved seamlessly between the Cubist avant-garde and lesbian literary and artistic circles, as well as the realms fashion, ballet, and decorative arts. Critical essays explore her early experiments with Cubism; her exile in Spain during World War I; her collaborative projects with major figures of her time such as André Mare, Serge Diaghilev, Francis Poulenc, and André Groult; and her role in the emergence of a “Sapphic modernity” in Paris in the 1920s. Along with more than 60 full-color plates, Laurencin’s life and career are documented through an illustrated chronology and exhibition history, as well as an appendix charting her network of female patrons and associates. Laurencin became a fixture of the contemporary art scene in pre–World War I Paris, including as a muse and romantic partner of the poet Guillaume Apollinaire. She returned to the city after the war, having developed her signature style of diaphanous female figures in a blue-rose-gray palette. Laurencin’s feminine yet sexually fluid aesthetic defined 1920s Paris, and her work as an artist and designer met with high demand, with commissions by Ballets Russes and Coco Chanel, among others. Her romantic relationships with women inspired homoerotic paintings that visualized the modern Sapphism of contemporary lesbian writers like Nathalie Clifford Barney. Indeed, one of Laurencin’s final projects was to illustrate the poems of Sappho in 1950.

揭示了法国艺术家Marie Laurencin对 20 世纪巴黎现代主义所产生的至关重要的影响、她的视觉风格以及她的性表达方式。

这本书对出生于巴黎的艺术家Marie Laurencin（1883 - 1956 年）的生平进行了久违的重新评估。她能够在立体主义先锋派、同性恋文学和艺术圈，以及时尚、芭蕾舞和装饰艺术等领域之间游刃有余地穿梭往来。书中包含的评论文章探讨了她早期对立体主义的探索；第一次世界大战期间她在西班牙的流亡经历；她与当时的重要人物（如André Mare、Serge Diaghilev、Francis Poulenc和André Groult）的合作项目；以及她在 20 世纪 20 年代巴黎“萨福式现代性”兴起过程中所扮演的角色。书中还配有超过 60 幅彩色插图，通过图文并茂的年表和展览历史记录了Laurencin的生平和职业生涯，同时还附有一张图表，展示了她与女性赞助人和伙伴的关系网络。Laurencin在第一次世界大战前的巴黎成为了当代艺术界的常客，包括作为诗人Guillaume Apollinaire的缪斯和恋人。战后她回到这座城市，发展出了以蓝色玫瑰灰色调描绘轻盈女性形象的个人风格。Laurencin独特的女性化且兼具性感魅力的审美风格塑造了 20 世纪 20 年代的巴黎风貌。作为艺术家和设计师，她的作品备受青睐，曾接到包括俄罗斯芭蕾舞团和Coco Chanel等人的委托创作。她与女性的浪漫关系激发了多部同性恋题材的画作，这些画作将当代女同性恋作家如Nathalie Clifford Barney所描绘的现代“斯派莎克主义”形象生动地呈现在画中。事实上，Laurencin的最后一件作品是在 1950 年为Sappho的诗作绘制插图。

This book is a collection of highly personal travel notes and sketches, carefully selected and created by Abramović, one of the world's most outstanding performance artists, and never before published. It presents readers with a visual representation of Abramović's bold and innovative work.

An artist’s notebooks are arguably the most authentic means of understanding her process, techniques, and impulses. And, for a performance artist, a rare, permanent record of how she develops her craft. Compiled over the course of four decades on stationery from various hotels, and other temporary residences, this collection of Marina Abramović’s original drawings, collages, poetry, writings, cut-outs, photographs and doodles offers glimpses of a brilliant mind in constant motion.

Beautifully produced and packaged, it takes readers on a journey through Abramović’s thoughts—and traces the evolution of the most fruitful phase of her career. “I believe we humans need to keep moving forward, and my own life was purely nomadic,” Abramović writes of her travel diaries. “My home was everywhere I went because my home was my own body.”

本书是由这位世界最杰出的行为艺术家——阿布拉莫维奇精心挑选并亲自创作的一组极具个人色彩的旅行笔记和素描作品集，此前从未公开出版。它为读者呈现了阿布拉莫维奇大胆且独具创新性的作品集的一种视觉形象。

艺术家的笔记无疑是了解其创作过程、技法和灵感的最真实途径。对于一位行为艺术家而言，这更是一份极为珍贵且持久的记录，能展现她如何发展自己的技艺。这些作品是玛丽娜·阿布拉莫维奇在四十年间于不同酒店及其他临时住所所使用的信纸之上创作而成的，其中包括她的原画、拼贴画、诗歌、文字、剪纸、照片和涂鸦。这些作品让我们得以一窥这位思维活跃的艺术家的创作过程。

这本书制作精良、包装精美，引领读者一同踏上阿布拉莫维奇的思绪之旅，并追溯了她职业生涯中最具成果的阶段的发展历程。阿布拉莫维奇在谈及她的旅行日志时写道：“我相信人类需要不断前行，而我的人生纯粹就是一种漂泊不定的生活。我的家就是我所到之处的每一处地方，因为我的家就是我的身体。”

An unprecedented photo-biography of Mondrian at work and at play―from informal snapshots to formal portraits and scenes of his studio and social life.

The public image of Piet Mondrian (1872–1944) is usually one of a serious man in a suit and tie with a reserved, rather aloof demeanor. This image was shaped by a small group of some 10 photographs, although there are around 400 known photographs of the artist and his studios that provide a far more balanced and livelier portrait of the real Mondrian.

This gorgeous book is not a biography but rather a visual account of Mondrian’s life that vividly evokes the world of this most emblematically modern of artists. The archival photographs reproduced here show that Mondrian’s studios in Amsterdam, Paris and New York were works of art themselves, as fascinating as the guests seen visiting them. Also included here are snapshots showing Mondrian’s daily life, taken during journeys or visits; photographs of openings and dinners; and formal portraits that he used to promote the image of a serious and uncompromising artist. 

一本前所未有的蒙德里安生活与创作的全貌照片集——从随意拍摄的快照到正式的肖像照，再到他工作室的场景以及社交生活的描绘。

皮特·蒙德里安（1872 - 1944）的公众形象通常是一位身着西装打着领带、神情严肃、态度矜持的严肃人士。这种形象是由大约 10 张照片塑造而成的，而这位艺术家及其工作室其实还有约 400 张照片，这些照片为我们呈现了一个更为平衡、生动的、真实的蒙德里安形象。

这本精美的书籍并非传记，而是一本关于蒙德里安生活的视觉记录，生动地展现了这位最具现代象征意义的艺术家所处的世界。这里所展示的档案照片表明，蒙德里安在阿姆斯特丹、巴黎和纽约的工作室本身就是一件艺术品，就像那些参观这些工作室的人一样引人入胜。此外，这里还包括了一些在旅行或访问期间拍摄的展现蒙德里安日常生活的照片；还有开幕仪式和晚宴的照片；以及他用来塑造严肃且毫不妥协艺术家形象的正式肖像照片。

Enchanting brocades and damasks, luminous hand-woven silken velvets, traditional woodblock printed fabrics, striking contemporary patterns made into works of art: Pierre Frey, a family business founded in 1935, is famous for the variety and boldness of its inspired designs, and has asserted itself in the luxury market as the uncontested global leader in soft furnishing textiles and wallpapers. Having acquired the venerable houses Braquenié and Le Manach, Pierre Frey possesses one of the most important private textile heritages in the world. Pierre Frey has worked with the Louvre and the château de Versailles, decorated castle interiors, and provides the fabrics and wallpapers of elegant private homes around the world—from Paris to Hong Kong to New York.

Drawing from their archives of more than 25,000 documents, which date from the sixteenth century to the present, this indispensable volume will serve as a reference and a basis for contemporary inspiration to professional and amateur designers.

精美的织锦和锦缎、闪耀的手工编织丝绸绒布、传统的木版印刷织物、独具特色的当代图案被打造成的艺术品：Pierre Frey是一家成立于 1935 年的家族企业，以其富有创意且大胆的设计种类和风格而闻名，它在奢侈品市场中作为软装纺织品和壁纸领域的无可争议的全球领导者而崭露头角。Pierre Frey收购了历史悠久的Braquenié和Le Manach公司，拥有了世界上最重要的私人纺织遗产之一。Pierre Frey与卢浮宫和凡尔赛宫合作，为城堡内部进行装饰，并为世界各地从巴黎到香港再到纽约的优雅私人住宅提供织物和壁纸。

凭借其超过 25，000 份文件的档案（这些文件从 16 世纪一直延续到现在），这本不可或缺的书籍将成为当代设计灵感的参考和基础，适用于专业和业余设计师。

An affordable pocket introduction to the most constructive and creative influence on English taste between the wars

The Bloomsbury Group was a union of friends who transformed British culture with their approach to art, design and society. The group aimed to rebel and challenge what they felt were the religious, artistic, social and sexual taboos of Victorian England. Together they created a revolution in British style that resonates with contemporary painters, writers, actors, designers, fashion editors and publishers.

This book explores the impact of Bloomsbury personalities on each other, as well as their legacy to the 21st century. Author and acclaimed Bloomsbury expert Frances Spalding demonstrates how this network of artists, lovers and patrons recorded one another obsessively in both words and images. She presents 20 fascinating biographies, all of which are illustrated with paintings and intimate photographs created by members of the group. Highlighted in her revealing account are Virginia and Leonard Woolf, Vanessa and Clive Bell, Duncan Grant, Lady Ottoline Morrell, Roger Fry, J.M. Keynes, Lytton Strachey and Dora Carrington.

一本价格实惠、内容详尽的著作，全面介绍了两次世界大战期间对英国审美产生最积极、最具创造性的影响的因素。

布鲁姆斯伯里团体是由一群志同道合的朋友组成的团体，他们凭借在艺术、设计和社会方面的独特见解，改变了英国的文化。该团体旨在反抗并挑战他们认为是维多利亚时代英格兰的宗教、艺术、社会和性方面的禁忌。他们共同开创了英国风格的变革，这一变革至今仍对当代的画家、作家、演员、设计师、时尚编辑和出版商产生着深远的影响。

这本书探讨了布鲁姆斯伯里派成员之间的相互影响，以及他们对 21 世纪的深远影响。作者弗朗西斯·斯帕尔丁是一位备受赞誉的布鲁姆斯伯里派专家，她展示了这一由艺术家、恋人和赞助人组成的群体是如何以文字和图像形式对彼此进行极度关注的记录的。她呈现了 20 篇引人入胜的传记，所有这些传记都配有该团体成员创作的绘画和亲密照片。在她详尽的叙述中，突出介绍了Virginia和Leonard Woolf、Vanessa和Clive Bell、Duncan Grant、Lady Ottoline Morrell、Roger Fry、J.M. Keynes、Lytton Strachey和Dora Carrington等人物。

This book is an unprecedented excavation of Warburg’s famous 1895 visit to the Pueblo peoples, compiling his photographs, drawings, writings and archival documentation

When the great German art theorist and historian Aby Warburg (1866–1929) left for the United States in September 1895, few would have guessed that his search for the symbolic strata of art would prove to be one of the most foundational and critically debated events in the discourse of Western art history. Warburg’s journey in North America lasted only months and his stay in the Pueblo areas only a few weeks, but in 1923 he presented his findings in the groundbreaking lecture on the Hopi “Snake Ritual.”

Using selected photographs, ethnographic drawings and various archival documents, The Snake and the Lightning: Aby Warburg's American Journey compiles research, showing Warburg’s diverse interlocutors during this trip―from chiefs to missionaries―and focusing especially on his documentation of dances, ritual objects and artworks. These documents are evidence of an emerging shift in Warburg’s scholarly thinking that would eventually lead to the cultural comparative methodology for which he is now held in worldwide esteem.

本书对Warburg 1895 年访问普韦布洛人的那次著名经历进行了前所未有的挖掘整理，其中包括整理了他的照片、绘图、文字记录以及档案资料。

1895 年 9 月，伟大的德国艺术理论家和历史学家Aby Warburg（1866 - 1929）前往美国之时，几乎没人能预料到，他对于艺术象征层面的探索将会成为西方艺术史论述中最具基础性且备受争议的事件之一。Warburg在北美的旅程仅持续了几个月，他在普韦布洛地区的停留也仅有几周，但到了 1923 年，他就在关于霍皮族“蛇仪式”的开创性演讲中展示了其研究成果。

通过选取的照片、民族学绘图以及各种档案文件，《蛇与闪电：阿比·瓦尔堡的美国之旅》汇集了相关研究内容，展示了他在此次旅行中遇到的不同人物——从酋长到传教士——并特别关注他对舞蹈、仪式物品和艺术品的记录。这些文件证明了Warburg学术思想的转变，这一转变最终促成了他如今在全球范围内备受推崇的文化比较方法论。

Written by the Moscow Design Museum's Alexandra Sankova and Olga Druzhinina, this book tells the previously untold story of the VNIITE - the All-Union Scientific Research Institute of Technical Aesthetics.

Formed in Soviet Russia in 1962, by the design visionary Yuri Soloviev, this cast network contained Moscow's most progressive designers. THh 'Vniitians', as they were called, designed for the future and developed new theories and approaches to design in the USSR.

But more than fifty years later, the organisation is all but forgotten. It's hard to fathom how such an institution, dedicated to the promotion of utopian design, in theory and in practice, and the improvement of design standards within the Soviet Union, could have faded so far from view. After the disintegration of the USSR, the VNIITE and its library of images and prototypes were presumed lost.

Thanks to the efforts of the Moscow Design Museum - and the discovery of the personal archives of some of the VNIITE designers - the story of this remarkable organisation is being pieced back together.

Alongside images of sketches, models and prototypes, the book also includes a selection of covers of one of the USSR’s hidden gems of graphic design – the VNIITE’s monthly journal, Technical Aesthetics. Showcased together for the first time, these covers chart Soviet graphic trends from the 1960s to the early 1990s.

In the pages of this book you can see some of the more compelling examples of utopian Soviet design. As the designer Paula Scher notes, the work offers a balance between ‘the communist desire for a perfectly-designed world against the real world of human competitiveness and inequality’.

由莫斯科设计博物馆的Alexandra Sankova和Olga Druzhinina撰写的这本书，讲述了此前未曾披露过的“全俄技术美学研究所”（VNIITE）的故事。

1962 年，由设计大师Yuri Soloviev在苏联创立了这个设计网络。该网络汇聚了莫斯科最具创新精神的设计师。他们被称为“未来主义者”，致力于为未来设计，并在苏联开创了新的设计理论和方法。

但五十多年过去了，这个组织几乎已被人们遗忘。很难想象这样一个致力于推广乌托邦式设计（无论是在理论上还是实际操作中）以及提升苏联国内设计标准的机构，怎么会如此迅速地从人们的视野中消失。苏联解体后，VNIITE及其所拥有的大量图片和原型资料被认为已经遗失。

多亏了莫斯科设计博物馆的努力，以及对一些VNIITE设计师个人档案的发掘，这个非凡机构的历史才得以逐渐被重新拼凑起来。

除了各类草图、模型和原型的图片外，这本书还收录了苏联一些鲜为人知的杰出设计作品的封面选集——即“VNIITE”月刊《技术美学（Technical Aesthetics）》。这些封面首次一同展出，展示了从 20 世纪 60 年代到 90 年代初苏联的各类设计趋势。

在这本书的页面上，您可以看到一些极具说服力的苏联乌托邦式设计实例。正如设计师Paula Scher所指出的那样，这些作品在“共产主义对完美设计世界的渴望与人类竞争与不平等的真实世界之间”达成了一种平衡。