Saul Steinberg

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Gerard Woodward

From London's Soho underworld to the battlegrounds of North Africa, an odyssey following the exploits of an enigmatic camouflage officer--and brilliant painter--during World War II.

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Robert Capa

In 1942, a dashing young man who liked nothing so much as a heated game of poker, a good bottle of scotch, and the company of a pretty girl hopped a merchant ship to England. He was Robert Capa, the brilliant and daring photojournalist, and Collier's magazine had put him on assignment to photograph the war raging in Europe. In these pages, Capa recounts his terrifying journey through the darkest battles of World War II and shares his memories of the men and women of the Allied forces who befriended, amused, and captivated him along the way. His photographs are masterpieces -- John G. Morris, Magnum Photos' first executive editor, called Capa "the century's greatest battlefield photographer" -- and his writing is by turns riotously funny and deeply moving. From Sicily to London, Normandy to Algiers, Capa experienced some of the most trying conditions imaginable, yet his compassion and wit shine on every page of this book. Charming and profound, Slightly Out of Focus is a marvelous memoir told in words and pictures by an extraordinary man.

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Cornell Capa and Richard Whelan

Cornell Capa, world famous for his photojournalism as well as for his founding of New York's International Center of Photography, has had a long and productive working life. His career has spanned several key decades of the twentieth century, and his work has taken him around the globe to cover political events and chronic social problems, to photograph the famous and the unsung. Born in Budapest in 1918, Capa moved to New York in 1937, took a job with the Pix photo. Agency, and soon began working in the darkroom at Life magazine. By 1946, he was a staff photographer for Life, and during the following eight years he worked on hundreds of assignments for the magazine. In 1954 - after the death of his brother Robert Capa while covering the war in French Indochina - Cornell Capa resigned from the Life staff and joined Magnum, the international cooperative photo agency that Robert had helped to found. Since 1974, Cornell Capa has been. The director of ICP, one of the world's most important centers for photojournalism and the art of photography. As Capa points out in his preface to the book, the word "photography" was coined from Greek words that mean writing with light - a good description of Cornell Capa's brand of descriptive image making. Capa's photographs are not just for aesthetic consideration; they teach, challenge, entertain, support causes. In his tenure as a staff photographer at Life. Magazine, Cornell Capa managed to fuse his personal and professional goals so that, on deadline and in the service of journalism, he was able to make some of his most poignant and shattering images. Although he enthusiastically adopted the passionate photojournalistic style of his older brother, who is best known for his coverage of the Spanish civil war and World War II, his goal was distinct from the beginning: to be primarily a photographer of peace. As a. Self-described concerned photographer, Cornell Capa has always been led by his instincts to photograph people - all kinds of people - with a humanitarian commitment. This book reflects that commitment in unforgettable pictures of missionaries in Central and South America; religious and tribal rituals; the presidential campaigns of Adlai Stevenson and John F. Kennedy; political upheavals, refugees, and wars; the historic and the marginal. Here, too, are moments of whimsy. And joy, from Harlem to London to Peru, and memorable images of celebrities, including Marilyn Monroe, Clark Gable, Alec Guinness, Grandma Moses, Billy Graham, and Boris Pasternak. Despite the wide recognition of Cornell Capa's achievements, and the fact that he has spent his lifetime furthering the art of photography, this book is the first retrospective collection of his work to be published in the United States. All these photographs transmit crucial aspects of the. Political, social, cultural, and religious history of our times.

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essays by Lynn M. Herbert ... [et al

The Art Guys (Michael Galbreth and Jack Massing) who met at the University of Houston in 1982, have carefully crafted a presence and wacky notoriety that places them at the heart of the Houston art scene and has captured the attention of a national audience. Driven by an insatiable curiosity, they employ a variety of media for the exploration of their ideas including drawing, painting, sculpture, installation, performance and video. The Art Guys create diverse works designed to engage, amuse and challenge viewers by seducing them with a playful sense of humor. Described in the New York Times as "a cross between Dada, David Letterman, John Cage and the Smothers Brothers",[1] The Art Guys present a blend of performance, conceptual and visual art that explores the absurdities of contemporary life. All told, The Art Guys defy categorization, they represent a kink in the art historical continuum - a hiccup, a scratch that can't be itched. They have amused, irritated, enchanted and befuddled viewers with their deadpan humor and irreverent antics. Regardless of how they are remembered in the annals of American art, their audience will never be the same.