"Since 2007, Richard Renaldi has been working on a series of photographs that involve approaching and asking complete strangers to physically interact while posing together for a portrait. Working on the street with a large format eight-by-ten-inch view camera, Renaldi encounters the subjects for his photographs in towns and cities all over the United States. He pairs them up and invites them to pose together, intimately, in ways that people are usually taught to reserve for their close friends and loved ones. Renaldi creates spontaneous and fleeting relationships between strangers, for the camera, often pushing his subjects beyond their comfort levels. These relationships may only last for the moment the shutter is released, but the resulting photographs are moving and provocative, and raise profound questions about the possibilities for positive human connection in a diverse society. -- Provided by publisher."--Publisher's description.

Manhattan Sunday is part homage to a slice of New York nightlife, and part celebration of New York as palimpsest--an evolving form onto which millions of people have and continue to project their ideal selves and ideal lives. In the essay that accompanies his photographs, Richard Renaldi describes his experiences as a young man in the late 1980s who had recently embraced his gay identity, and of finding a home in the mystery and abandonment of the club, the nightscape, and then finally daybreak, each offering a transformation of Manhattan from the known world into a dreamscape of characters acting out their fantasies on a grand stage. Drawing heavily on his personal subcultural pathways, Renaldi captures that ethereal moment when Saturday night bleeds into Sunday morning across the borough of Manhattan. This collection of portraits, landscapes, and club interiors evokes the vibrant nighttime rhythms of a city that persists in both its decadence and its dreams, despite beliefs to the contrary. Manhattan Sunday is a personal memoir that also offers a reflection the city's evolving identity--one that still carries with it and cherishes the echoes of its past.

Though he works with an omnivorous 8x10 camera, Richard Renaldi has the roving eye of a street photographer, always searching for the brief encounter, the fleeting moment when a stranger will open his or her life to him, and, consequently, to the viewer. Richard Renaldi's "Figure and Ground," drawn from more than seven years of work, presents portraits, landscapes and, most importantly, the portraits in situ that meld those two classic photographic genres, in which he embraces not only individuals but the environment that encompasses them. These images were made across the United States, and take in not only those who might seem traditionally American-a blonde carrying a Louis Vuitton bag through a Greyhound terminal, or a rodeo cowboy, arms akimbo, standing determinedly against an all-dirt horizon-but also a woman in a burqa and Timberland boots on a faded Newark street and a transgender girl working a fast-food counter under the sad-glamorous glow of fluorescent lighting. If there is truly a center to the changing American social landscape, it can be found here, in these precisely rendered portraits.

In the spring of 2000, Richard Renaldi began making frequent trips to the small New England city of Fall River, Massachusetts. Situated just a short distance from the Atlantic coast, Fall River was once at the very center of American textile manufacturing. Renaldi's aim was to photograph the young men of Fall River coming of age amidst an industrial landscape well past its boom years. This extraordinary body of images - both portraits and landscapes - is gathered here for the first time in Renaldi's second monograph, Fall River Boys.

Indian Army Orders of Battle 1947-2010 including corps, divisions, brigades, regiments and wars.

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.

When two old friends died unexpectedly, Rick Schatzberg spent the next two years photographing the remaining group of a dozen men. Now in their 67th year, they have been close since early childhood. Schatzberg collected vintage photos that tell the story of this shared history and uses them to introduce each individual as they are today. These are paired with large-format portraits which connect the boy to the man. Mixing in text with these images, Schatzberg depicts friendship, aging, loss, and memory as the group arrives at the threshold of old age. The Boys juxtaposes elements of place, personal history, and identity. The people and locale described are a specific product of the mid-20th-century suburban American landscape, but the book’s themes are radically universal.

One of The New Yorker's "Books We Loved in 2017," a BOMB's Looking Back on 2017: Literature Selection, a Paris Review Staff Pick, and one of Vulture's 10 Best Thriller Books of 2017. Girlfriend. Prostitute. Addict. Terrorist? Who is K? The daring new novel from Katherine Faw, the brilliant author of Young God, is a scintillating story of money, sex, and power told in Faw’s viciously sharp prose. A high-end, girlfriend-experience prostitute has just returned to her native New York City after more than a decade abroad—in Dubai, with a man she recalls only as the Sheikh—but it’s unclear why exactly she’s come back. Did things go bad for her? Does she have scores to settle? Regardless, she has quickly made herself at home. She’s set up a rotation of clients—all of them in finance—each of whom has different delusions of how he is important to her. And she’s also met a man whom she doesn’t charge—a damaged former Army Ranger, back from Afghanistan. Her days are strangely orderly: A repetition of dinners, personal grooming, museum exhibitions, sex, Duane Reades (she likes the sushi), cosmology, sex, gallery shows, nightclubs, heroin, sex, and art films (which she finds soothing). She finds the pattern confirming, but does she really believe it’s sustainable? Or do the barely discernible rifts in her routine suggest that something else is percolating under the surface? Could she have fallen for one of her bankers? Or do those supposed rifts suggest a pattern within the pattern, a larger scheme she’s not showing us, a truth that won’t be revealed until we can see everything?

An unique and intense tale following Elim Garak as he attempts to stitch the ravaged society of Cardassia back together. For nearly a decade Garak has longed for just one thing—to go home. Exiled on a space station, surrounded by aliens who loathe and distrust him, going back to Cardassia has been Garak's one dream. Now, finally, he is home. But home is a world whose landscape is filled with death and destruction. Desperation and dust are constant companions and luxury is a glass of clean water and a warm place to sleep. Ironically, it is a letter from one of the aliens on that space station, Dr. Julian Bashir, that inspires Garak to look at the fabric of his life. Elim Garak has been a student, a gardener, a spy, an exile, a tailor, even a liberator. It is a life that was charted by the forces of Cardassian society with very little understanding of the person, and even less compassion. But it is the tailor that understands who Elim Garak was, and what he could be. It is the tailor who sees the ruined fabric of Cardassia, and who knows how to bring this ravaged society back together. This is strange, because a tailor is the one thing Garak never wanted to be. But it is the tailor whom both Cardassia and Elim Garak need. It is the tailor who can put the pieces together, who can take a stitch in time.