An elegant collection of portraits of swimmers at Coney Island across two decades This collection of 30 photographs by American photographer Peter Kayafas (born 1971) depicts people swimming in the ocean at Coney Island, a location that has long served as a source of inspiration and fascination for artists. Made over the course of many summers and one particular winter during which Kayafas was a member of Coney Island's legendary Polar Bear Club (the oldest winter bathing club in the United States) in the 1990s and 2000s, the photographs are filled with energy, movement, grace and a surprising intimacy. Using a waterproof camera, hidden just below the ocean's surface, Kayafas captures candid snapshots of unsuspecting beachgoers. His focus on the swimmers over a period of two decades provides an extended insight into the elemental relationship humans have with water.

The most comprehensive monograph on Turner Prize-nominated artist Peter Doig. In every generation of artists, there are a few-or perhaps just one-who propose a new set of questions and alter the way we understand art. Peter Doig is such an artist. While stories of painting's demise in the early 1990s deemed painters and their work quaintly anachronistic, Doig-looking ahead as much as back for inspiration-forged a new painterly language: an ironic mix of Romanticism and post-impressionism to create haunting and sometimes dreamlike landscape vistas. In this lavish new volume devoted to his entire career-which includes paintings, drawings, and reference material, such as found photographs-art historians Richard Shiff and Catherine Lampert mine the artist's rich and varied work. Doig's landscapes have been inspired by the many places the artist has lived-England, Canada, Trinidad. So, too, does memory, or the idea of memory, inform much of his production. This handsome slipcased volume is designed in close collaboration with the artist, with Doig specially creating the cover and various elements of the interior. Every facet of the painter's singular vision is explored, from his earliest paintings of the early 1990s to the most recent series of works. Published in association with Michael Werner Gallery

Edward Burtynsky's Oil collects a decades' worth of photographing the world's largest oil fields, refineries, freeway interchanges and automobile plants, in an attempt to comprehend the scale of production attending this most politicized of resources. The ideal photographer for this job, Burtynsky locates and documents the sites that urban dwellers never see, and questions human accountability. His imagery is vast in both scale and ambition, revealing the apparatus behind the energy we mine from dwindling resources, and the ongoing effects of the industrial revolution. "In 1997 I had what I refer to as my oil epiphany," Burtynsky explains: "it occurred to me that all the vast, man-altered landscapes I had been in pursuit of for over 20 years were all possible because of the discovery of oil and the mechanical advantage of the internal combustion engine." Burtynsky's epiphany is typical of his desire to lift the scrim of everyday life and reveal the basic resources that keep it in place. What lies beyond is not pretty, and the images in Oil sometimes resemble the post-apocalyptic desert landscapes of Mad Max, with their vast horizons of featureless sand and desert foliage, punctuated by creaky-looking oil machinery. With a unflinching eye, Burtynsky presents us with the reality of oil production as its role in our civilization undergoes massive transformation.

PhotoWork is a collection of interviews by forty photographers about their approach to making photographs and, more importantly, a sustained body of work. Curator and lecturer Sasha Wolf was inspired to seek out and assemble responses to these questions after hearing from countless young photographers about how they often feel adrift in their own practice, wondering if they are doing it the "right" way. The responses, from both established and newly emerging photographers, reveal there is no single path.

What goes on inside a paragraph of printed text? Cyrus Highsmith's Inside Paragraphs is an essential primer on the basics of typography that focuses specifically on the role of printed text within a paragraph. Engaging full-page illustrations and Highsmith's accessible explanations show the role of white space between letters, words, and lines. Perfect for students and professionals alike, this updated edition includes a new preface.

When Frida Kahlo, died, her husband Diego Rivera asked the poet Carlos Pellicer to turn the Blue House into a museum that the people of Mexico Could visit to admire the work of the artista. Pellicer selected those of Frida’s paintings which were in the house, along with drawings, photographs, books, and ceramics, maintaining the spaces just as Frida and Diego had arranged them t olive and work in. The resto f the objects, clothing, documents, drawings, and letters, as well as over 6.000 photographs collected by Frida in the course of her life, were put away in bathrooms converted into storerooms.

Part archive and part guidebook, The Photographer's Green Book's inaugural publication, Vol. 1, explores the themes of history, community, and process in photography. It explores these themes through essays, interviews from artists and organizations, and images from diverse lens based artists. The book also features questions and organization listings to help readers further engage with these concepts.

From 1972 to 1975, Susan Meiselas spent her summers photographing and interviewing women who performed striptease for smalltown carnivals in New England, Pennsylvania and South Carolina. As she followed the girl shows from town to town, she portrayed the dancers on stage and off, photographing their public performances as well as their private lives. She also taped interviews with the dancers, their boyfriends, the show managers and paying customers. Meiselas' frank description of the lives of these women brought a hidden world to public attention. Produced during the early years of the women's movement, "Carnival Strippers" reflects the struggle for identity and self-esteem that characterized a complex era of change. This revised edition contains a new selection of Meiselas' black-and-white photographs together with the original interview excerpts. Additionally, an audio CD featuring a collage of participants' voices and a 1977 interview with the photographer are included. Essays by Sylvia Wolf and Deirdre English reflect on the importance of this body of work within the history of photography and the history of feminism.