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• Foreword / John L. Hennessy
• Introduction / Connie Wolf
• Notes on Carleton Watkins / Elizabeth Kathleen Mitchell
• Notes on process / George Philip LeBourdais
• Notes on the Stanford albums / John E. Mustain
• Selections from the Stanford albums. Photographs of the Pacific Coast (1862-76)
• Photographs of the Yosemite Valley (1861 and 1865-66)
• Photographs of the Columbia River and Oregon (1867 and 1870)
• Essays. Landscape photography under pressure : Carleton Watkins at Malakoff / Jason D. Weems
• Lost in the city / Gavin Jones and Judith Richardson
• Watkins's salvage operation / Elizabeth Hutchinson
• Malakoff Diggins, North Bloomfield, Nevada Co., Cal. / Robert H. Dawson
• A most "uncanny" place : Watkins's view of Devil's Canyon / Corey Keller
• Seabirds : silent no more / Stephen Palumbi
• Looking back at Watkins / James Clifford
• Reflections on Mount Watkins and other incompletions / George Philip LeBourdais
• The sentinels of Yosemite / Barton H. Thompson Jr.
• Ecologies : trees, fires, and photographs / George Philip LeBourdais
• Written in water : Carleton Watkins's West / David M. Kennedy
• Watkins and singularity / Alexander Nemerov
• Overlooking the Columbia / Erik Steiner
• How a historian reads a picture / Richard White
• The complete Stanford albums. Photographs of the Pacific Coast (1862-76)
• Photographs of the Yosemite Valley (1861 and 1865-66)
• Photographs of the Columbia River and Oregon (1867 and 1870)
• Checklist
• Contributors
• Acknowledgments
• Credits.

Born in upstate New York in 1829, Carleton Watkins ventured west in 1848 to strike it rich. Instead of prospecting for gold, Watkins acquired a talent for photography. Through the 1860s and 1870s, Watkins charted the remote American West, and masterfully captured the vast scale and spirit of the Pacific Northwest. Among his most iconic photographs are the dramatic waterfalls, peaks, and valleys of Yosemite Valley. So moving were these images of the Valley that they were instrumental in convincing the 38th U.S. Congress and President Abraham Lincoln to pass the Yosemite Act of 1864, the first official step toward preserving the region and creating a blueprint for America's National Park System. Carleton Watkins: The Stanford Albums presents over 150 images from three of Watkins's albums - Photographs of the Yosemite Valley (1861 and 1865-66), Photographs of the Pacific Coast (1862-76), and Photographs of the Columbia River and Oregon (1867 and 1870) - from the Stanford University Libraries Special Collections. These images represent the definitive collection of Watkins's highest achievements. In addition to the complete albums, the book also features fifteen essays by renowned scholars of the American West, including David M. Kennedy, Alexander Nemerov, and Richard White. Carleton Watkins: The Stanford Albums accompanies an ambitious exhibition of the same name, on view at the Cantor Arts Center from April through August 2014. June 2014 marks the 150th anniversary of the congressional act that preserved Yosemite Valley and launched the national park system in the United States. These photographs - feats of innovation and technology at the dawn of photography - evince the beauty, power, and persuasiveness of the great American landscape.
(source: Nielsen Book Data)

Over the past few decades, the "pictorial turn" in the natural sciences, prompted by the computer's capacity to produce visual representations, has generated considerable theoretical interest. Poised between their materiality and the abstract level they are meant to convey, scientific images are always intersections of form and meaning. Benoit Mandelbrot (1924-2010), one of the best-known producers of digital images in scientific and industrial research, was particularly curious about the ways in which the materiality of scientific representation was able to influence the development of the ideas and abstractions the images embodied. Using images and objects found in Mandelbrot's office, this book questions the relationship between the visual and scientific reasoning in fractal geometry and chaos theory, among the most popular fields to use digital scientific imagery in the past century. These unpublished materials offer new connections between the material world and that of mathematical ideas. Work by Adrien Douady and Otto Rossler provides historical depth to the analysis.
(source: Nielsen Book Data)

Presses: Foolscap Press, Moving Parts Press, Ninja Press, Peter Koch Printer, and Turkey Press.

In the oldest national park in Africa, amid the political unrest of the Democratic Republic of the Congo, a group of rangers struggles to protect the park and one of its greatest resources: half the world’s population of mountain gorillas. It is here that the rangers, along with soldiers, rebels, miners, and coal traders fight for their livelihoods and their beliefs. Malika is an 11-year-old girl living in a refugee camp on the edge of Virunga. She sees the dangers of the world as an artist. Along her journey she encounters a variety of characters, including Esther, one of the park’s first female rangers; Aymar, a poacher-turned-ranger; and Njembe, a boy who is pulled into the dangerous ranks of Sakombi’s infamous rebels.

• Lou Henry and Herbert Hoover
• Creation of the house
• What kind of architecture is it?
• The Hoovers and indigenous architecture
• The primitive and the modern
• Stanford presidents who have lived in the house.

"Two questions have intrigued observers of the Lou Henry Hoover House, built at Stanford University in 1919 by Lou Henry and Herbert Hoover and now the official residence of the university's president. Who was the building's architect? And what was the motive for its unusual, cubic, flat-roofed, undecorated form?
This book shows that although professional architects were involved in the project, the architect was actually Lou Henry Hoover herself, who conceived the design of the house and worked out its details, using her architects largely for technical matters and to produce the drawings and supervise construction. As for the design, the book argues that it was inspired mainly by the Native American Pueblo architecture of New Mexico and Arizona.
Herbert Hoover, in fact, called it a "Hopi house," and Lou referred to her "Pueblo walls," but the Pueblo connection was later denied by others involved in the project." "This book reveals that both of the Hoovers were interested in Native American culture, and that Lou, in particular, was fascinated with the "primitive" architecture of the non-Western world, which she had studied during the years when she and Herbert had lived and worked in Asia and elsewhere.
Primitive forms did not appeal to her for their exoticism, as was typical at the time, but for the virtues she found in them. The Hoover House is a remarkable example of the contribution of non-Western or indigenous architecture to the development of modernism."--Jacket.

At 592 pages, Blankets may well be the single largest graphic novel ever published without being serialized first. Wrapped in the landscape of a blustery Wisconsin winter, Blankets explores the sibling rivalry of two brothers growing up in the isolated country, and the budding romance of two coming-of-age lovers. A tale of security and discovery, of playfulness and tragedy, of a fall from grace and the origins of faith. A profound and utterly beautiful work from Craig Thompson. The New Printing corrects 3 small typos, widening the spine graphics, but otherwise is identical to the first printing.
(source: Nielsen Book Data)

From monastic cloisters in the time of Charlemagne to the book-lined studies of 20th-century authors, this study presents an overview of the literary and artistic world in France. The Bibliotheque nationale de France, rich in collections of illuminated manuscripts, books, medals, maps and prints, had its beginnings when Charles V established his library in the falcon tower of the Louvre. During the Middle Ages, culture was the handmaiden of church and government; during the absolute monarchy, it became an instrument of propaganda; in the 18th century it developed an independent voice. This book explores the changing relationship between power and culture in France as seen in the history of its national library. Four American scholars - Peter Gay, Orest Ranum, Elizabeth A.R. Brown, and John J. Contreni - write about the connection between French cultural expression and political power from medieval to modern times. Four French experts from the Bibliotheque national de France - Florence Callu, Antoine Coron, Emmanuel Le Roy Ladurie, and Marie-Helene Tesniere - discuss more than 200 of the objects in the library, almost all of which are pictured in the book, exploring their historical significance and their relationship to the Bibliotheque nationale de France. Among these objects are: a 9th-century liturgical manuscript, entirely written in gold and silver on purple parchment; the bronze throne of Dagobert on which Napoleon sat at the founding of the Order of the Legion d'Honneur; Marguerite d'Orleans's 15th-century book of hours with its delicate illuminated borders; a heart shaped world map, published in 1536, showing the newly discovered lands of America; a sonata composed by Mozart when he was seven years old and dedicated to the daughter of Louis XV; a symphony by Berlioz written for the inauguration of the Bastille column; Zola's "J'accuse!"; and more. The book serves as the catalogue for a major exhibition at the Library of Congress that presents a selection of the Bibliotheque nationale de France's treasures. The exhibition opened in September 1995.
(source: Nielsen Book Data)

The Stanford Album brings together some 600 photographs, largely unpublished, and an interpretive text to tell the story of the community life of Stanford University from the University's creation in 1885 through the Second World War. It is a fitting coincident that at the same time Stanford is celebrating its Centennial Years (1985-91), the art of photography has reached its own anniversary of 150 years since the birth of the daguerreotype. The founders of the university, Jane and Leland Stanford, sat for their wedding portraits in 1850, and these daguerreotypes were just the beginning of the Stanfords' fascination with patronage of the new art form. Leland Stanford's perception of the value of the camera as a medium of documentation resulted in a superb pictorial record of the planning, construction, and dedication of the university, some of which is reproduced in The Stanford Album. By the turn of the century, technical advances in photography made possible the small, handheld camera, and at Stanford the "snapshot" image of campus life began to proliferate. Commercial photographers mainly concentrated on athletic events, drama productions, student parades, and other campus rituals; students who owned cameras intruded everywhere with the mysterious little boxes-into dormitories, fraternities and sororities, classrooms, dances, picnics, and beer busts. The book revisits a bygone Stanford. Through the magic of the cmeara lens, a vanished world of college life comes alive again, and we can see the community that existed yesterday under the same arcades where those at Stanford today study, work, and stroll.
(source: Nielsen Book Data)

Harold goes for an adventurous walk in the moonlight with his purple crayon.

Contains Ansel Adams's photographs and accompanying text of the Manzanar internment camp, where Japanese Americans were incarcerated from 1942-1945.

• Introduction / William Saroyan
• Author's preface
• Gold comes of age
• Architectural beauties
• Mission Dolores
• Ups and downs
• Fog
• The bridges
• Civic center
• Market Street
• Finance
• Gold
• Growing wealth
• The port
• Fisherman's Wharf
• International town
• Chinatown
• Little Russia
• Little Italy
• Little Japan
• The lighter side
• A city lets its hair down
• Camera log: for the technically minded.