Larry Sultan and Mike Mandel began working collaboratively together in 1973 while graduate students at the San Francisco Art Institute. They work together on occasional projects that include artists' books, exhibitions and public art.

An archeologist, a woman of science and logic, always believed fairies were the stuff of storybooks. That was before she made the discovery of a lifetime. After learning the secrets behind locating and luring these magical creatures out from hiding, she vows to travel all over the world photographing every fairy she can find. This remarkable book is the result of her quest, the first set of fairy photographs the world has ever seen. Join our archeologist as she travels to remote parts of the globe in search of her mysterious subjects. Read about the details of her journey as she documents the events of each fairy discovery and see for yourself her results--amazing, dazzling photographs straight from another world. Images of these creatures, vibrant and luminous, are captured and catalogued, each one more astonishing than the next. There is no greater proof--fairies are real. 2000 Quick Picks for Young Adults (Recomm. Books for Reluctant Young Readers)

Influenza data, medical interviews, photographic evidence refuting the Covid-19 campaign

This richly illustrated publication chronicles for the first time the collaborative artwork by Mike Mandel and Larry Sultan. Their prolific artistic collaboration began in 1973 when they were both graduate students at the San Francisco Art Institute. During the course of the next twelve years, they created nineteen projects together.During this period their projects took the form of artists' books, How To Read Music In One Evening, 1974, and Evidence, 1977; a series of a dozen outdoor billboards in the form of hand painted photographs, silkscreen posters, oil paintings and digitally printed posters, 1973-1983; a film, JPL, 1980; and an installation, Newsroom, 1983.Although they both pursued individual projects during this twelve year span they nurtured and developed an intense and focused artist collaboration. Their seminal work, Evidence has been widely recognized as a landmark photographic book.

Historian Amos Morris-Reich here tracks the trajectory of racial photography from 1876 through the Weimar and Nazi periods in Germany and, briefly, after WWII. With a particular focus on German and Jewish contexts, "Race and Photography "reveals the important role of racial photography within academic discourse on race. Photography was not simply a medium of illustration but rather it was a conduit for new forms of visual perception. Approaching the history of racial photography from an epistemic point of view raises questions concerning the similarity and specific difference of photography compared with other scientific media, and makes explicit the scientific and cultural assumptions in which different uses of photography were embedded. Paying particular attention to the effect of photography on concepts of visual perception and also to the intricate relationship between racial photography and the imagination, Morris-Reich examines numerous scientists and scholars, both prominent and obscure, who developed photographic methods for the study of race or made methodical use of photography for its study. His careful reconstruction of individual cases, conceptual genealogies, and emergent patterns points to transformations in the scientific status of photography throughout the late nineteenth and early twentieth centuries and uncovers the agency of photographic media in the history of scientific racism. This work makes a distinctive contribution to the fields of history of science, history of photography, intellectual history, European and Jewish history, and the history of race.

Imagine the twentieth century without photography and film. Its history would be absent of images that define historical moments and generations: the death camps of Auschwitz, the assassination of John F. Kennedy, the Apollo lunar landing. It would be a history, in other words, of just artists’ renderings and the spoken and written word. To inhabitants of the twenty-first century, deeply immersed in visual culture, such a history seems insubstantial, imprecise, and even, perhaps, unscientific. Documenting the World is about the material and social life of photographs and film made in the scientific quest to document the world. Drawing on scholars from the fields of art history, visual anthropology, and science and technology studies, the chapters in this book explore how this documentation—from the initial recording of images, to their acquisition and storage, to their circulation—has altered our lives, our ways of knowing, our social and economic relationships, and even our surroundings. Far beyond mere illustration, photography and film have become an integral, transformative part of the world they seek to show us.

An original analysis of the parallels between the arrested moment in photography and in the traumatized psyche.