The legendary photographer relates intimate themes of his life and art in a scrapbook memoir illustrated by his works—from portraits of Magritte to Warhol, to painted tintypes, and the revolutionary multiple-image sequences and handwritten texts for which he is best known—and by pieces from his personal art collection, now donated to Pittsburgh’s Carnegie Museum of Art. Whether a portrait of Eugène Atget by Berenice Abbott, collages by Joseph Cornell, or drawings by David Hockney, the works of Michals’s artistic lodestars sit alongside his own haunting images—some never-before-published—and his mordantly funny, playful, humble, and heartbreaking observations on art, photography, and life—revealing the creative obsessions of a uniquely beloved artist. The images and texts by Duane Michals assembled here are, like the artist himself—impossible to categorize; perhaps there is no better way to organize them than alphabetically. Whether recalling encounters with many of the past century’s most illustrious artists (Balthus, Duchamp), celebrating literary heroes (Whitman, Joyce), addressing essential human concerns (Grief, Children’s Stories, Homosexuality, God), or revealing deeply personal snippets of life with a partner suffering from dementia (Fred Said)—ABCDuane is a creative autobiography and the perfect primer for Michals’s vastly influential body of work—both for those who have loved it for the past half-century, and those being delighted by it for the first time.

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Duane Michals (born 1932) was seventy when, soon after the death of his mother, he returned to his native Pittsburgh to revisit the house in which he was born and brought up. Its deteriorated state proved a poignant focus for his memories, prompting reveries on mortality and the succession of generations that found form as a sequence of photographs and poetic texts. In The House I Once Called Home, the interaction of words and images provides a sensitive and moving account of one man's journey through life. Michals creates a highly affecting layering of time by superimposing new photographs onto much older images taken in the same location during his earlier life there. Michals is one of America's most consistently individual and original voices in photography. He rejected the documentary emphasis of much of the work that preceded him, instead using the camera to explore the workings of the mind. Michals sought to overcome what he deemed to be the limitations of the single photographic image, both by writing directly onto his prints and by creating narrative sequences of images; these innovative techniques proved immensely influential. Powerfully intimate in its focus, The House I Once Called Home demonstrates conclusively the possibility of exposing universal truths through the most personal events. It is a work to which every reader will be able to relate through the filter of his or her own experience, and which will undoubtedly accrue new meanings as we ourselves return to it at different stages in our lives.

Ptosis is the abnormally low position of the upper eye lid, sometimes known as "lazy eye". If left untreated in infants it can impair the development of vision, and in adults it may be an indicator of muscle weakness, endocrine disease, cancer or poisoning. This comprehensive text and atlas offers ophthalmologists in practise and in training complete coverage of the causes, diagnosis, evaluation and surgical interventions available to remedy this condition. Presented in ten chapters from anatomy and differential diagnoses to surgical interventions, this book shows the latest surgical techniques firstly through line drawings before moving to clinical photographs of the techniques. The book also covers the surgical management of other associated conditions i.e. telecanthus, epicanthus, and ectropion that may need to be managed in conjunction with Ptosis and contains an invaluable list of drugs reported to induce Ptosis and syndromes and diseases associated with the condition.

Presents the artist/photographer's late intimations on mortality, on last questions before one's final departure. Duane Michals has pioneered and mastered the narrative possibilities of his art while continuing to raise disturbing questions and presenting some of the most emotionally resonant and erotically charged imagery of our time.

How can photography be transformed into an active process of investigation for landscape architecture and environmental design? The second book in Godfrey’s series, Active Landscape Photography, presents engaged photographic methods that turn photography into a rigorous, thoughtful endeavor for the research, planning and design of landscape places. Photography is the most ubiquitous and important form of representation in these disciplines. Yet photography is not specifically taught as a core skill within these fields. This book creates a starting point for filling this gap. Concepts and working methods from contemporary photography and critical cultural theories are contextualized into situations encountered in the daily practice of landscape architecture and environmental design. These methods can be integrated into practices in academic and professional settings or picked up and self-taught by an individual reader. Part I: Methods presents easily accessible approaches to photography creating a core set of active skills. Part II: Practices discusses working methods of specific contemporary photographers and extrapolates their practices into common extrapolates their practices into common planning and design situations. Contemporary photographers presented include Richard Misrach, Dawoud Bey, Duane Michals, Latoya Ruby Frazier, Mark Klett, Sophie Calle, Joe Deal, Robert Adams, Naima Green, Bernd and Hilla Becher, Stephen Shore, David Hockney, Amy Sherald, William Christenberry, Jeff Wall, and Sohei Nishino. Beautifully illustrated in full color with over 150 images by Godfrey, her students, and contemporary photographers, this book provides both clear guidelines for a set of diverse methods as well as a deeper discussion about the implications of making and using photography in environmental design for professionals, academics, students and researchers.

Architects Philip Johnson, Marcel Breuer, Landis Gores, Eliot Noyes, Edward Durell Stone, and others created an extraordinary collection of modern houses in New Canaan, Connecticut, in the 1940s and 1950s. The bucolic New England town—a suburb of Manhattan—became the site of fervent experimentation by some of the leading lights of the movement in the United States, the architects known as the Harvard Five, whose modern aesthetic could be traced to the Bauhaus school of design. There they promoted their core principles: simplicity, openness, and sensitivity to site and nature, and built glass, wood, steel, and fieldstone houses that established architectural modernism as the ideal of domesticity in the twentieth century. Architects Jeffrey Matz and Cristina A. Ross, photographer Michael Biondo, and graphic designer Lorenzo Ottaviani present this vanishing generation of iconic American houses as more than an issue of restoration or preservation, but as an evolving legacy that adapts to contemporary life. Selecting a representative group of sixteen houses covering the period between the 1950s and 1978, they portray each one in great detail, with floor plans, timelines, and both archival and luminous new photography—from the clean, minimalist look of the initial construction, to subsequent additions by some of the most significant architects of our time including Toshiko Mori, Roger Ferris, and Joeb Moore. Voices of the architects and builders, original owners and current occupants combine to describe how the houses are enjoyed and lived in today, and how the modernist residence is more than just a philosophy of design and construction, but also a philosophy of living.