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The Big Book of Legs - Dian Hanson - Bog - Taschen GmbH - Plusbog.dk

Dian Hanson’s: The History of Men’s Magazines. Vol. 4: 1960s Under the Counter - - Bog - Taschen GmbH - Plusbog.dk

Dian Hanson’s: The History of Men’s Magazines. Vol. 4: 1960s Under the Counter - - Bog - Taschen GmbH - Plusbog.dk

In 1958 Milton Luros left his New York job designing and illustrating detective pulp magazines for North Hollywood, California. A year later, with a loan from an underworld figure, he founded a publishing empire that revolutionized men’s magazines in the 1960s. His so-called “California slicks” borrowed bad-girl themes from pre- Playboy burlesque titles, featuring big hair, heavy make-up, cigarettes, and cocktails, but in west coast mid-century settings with better photography, paper, and printing. With no redeeming articles, they were too strong for newsstands, but outsold Playboy in tobacco shops and specialty bookstores. Californian Elmer Batters invented leg art photography the same year, with titles Black Silk Stockings , Leg-O-Rama , Tip Top , Elmer’s Naked Jungle and more. Back in New York, Irving Klaw introduced fetish digests in the same specialty bookstores, leading to a ’60s fetish boom, with Lenny Burtman’s High Heels , Satana , Striparama , and Leg Show . A simultaneous uptick in sexploitation films spawned sexploitation film magazines, including Blazing Films and Banned . Sixties freedom spread to England too, where George Harrison Marks launched Kamera and Solo magazines with totally naked models posed to barely hide the banned bits, inventing “top shelf” titles: those not on public display. And lastly, up north, Swedish Sin was coined, with the first magazines challenging European censorship ; a challenge they’d soon win. Volume 4 in this series contains over 650 ground-breaking covers and photos from the U.S., England, and Sweden with descriptive text.

DKK 488.00
1

The Little Big Book of Legs - Dian Hanson - Bog - Taschen GmbH - Plusbog.dk

1000 Chairs. Revised and updated edition - Charlotte & Peter Fiell - Bog - Taschen GmbH - Plusbog.dk

All-American Ads of the 80s - Steven Heller - Bog - Taschen GmbH - Plusbog.dk

Sebastiao Salgado. Exodus - Unknown - Bog - Taschen GmbH - Plusbog.dk

Sebastiao Salgado. Exodus - Unknown - Bog - Taschen GmbH - Plusbog.dk

It has been almost a generation since Sebastião Salgado first published Exodus but the story it tells, of fraught human movement around the globe, has changed little in 16 years. The push and pull factors may shift, the nexus of conflict relocates from Rwanda to Syria, but the people who leave their homes tell the same tale: deprivation, hardship, and glimmers of hope, plotted along a journey of great psychological, as well as physical, toil. Salgado spent six years with migrant peoples, visiting more than 35 countries to document displacement on the road, in camps, and in overcrowded city slums where new arrivals often end up. His project includes Latin Americans entering the United States, Jews leaving the former Soviet Union, Kosovars fleeing into Albania, the Hutu refugees of Rwanda, as well as the first “boat people” of Arabs and sub-Saharan Africans trying to reach Europe across the Mediterranean ea . His images feature those who know where they are going and those who are simply in flight, relieved to be alive and uninjured enough to run. The faces he meets present dignity and compassion in the most bitter of circumstances, but also the many ravaged marks of violence, hatred, and greed. With his particular eye for detail and motion, Salgado captures the heart-stopping moments of migratory movement, as much as the mass flux . There are laden trucks, crowded boats, and camps stretched out to a clouded horizon, and then there is the small, bandaged leg; the fingerprint on a page; the interview with a border guard; the bundle and baby clutched to a mother’s breast. Insisting on the scale of the migrant phenomenon, Salgado also asserts, with characteristic humanism, the personal story within the overwhelming numbers. Against the indistinct faces of televised footage or the crowds caught beneath a newspaper headline, what we find here are portraits of individual identities, even in the abyss of a lost land, home, and, often, loved ones . At the same time, Salgado also declares the commonality of the migrant situation as a shared, global experience . He summons his viewers not simply as spectators of the refugee and exile suffering, but as actors in the social, political, economic, and environmental shifts which contribute to the migratory phenomenon. As the boats bobbing up on the Greek and Italian coastline bring migration home to Europe like no mass movement since the Second World War, Exodus cries out not only for our heightened awareness but also for responsibility and engagement . In face of the scarred bodies, the hundreds of bare feet on hot tarmac, our imperative is not to look on in compassion, but, in Salgado’s own words, to temper our behaviors in a “new regimen of coexistence.”

DKK 727.00
1