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Six Decades grants us a privileged look behind the normally closed door of Nobel Laureate Günter Grass' studio. For well over half a century Grass worked unceasingly as a writer, sculptor and graphic artist. While capturing the pulse of each decade of his long life in his novels, Grass also produced theatre pieces, poems, short stories, essays, etchings, lithographs, drawings and sculptures. He was furthermore politically active in his native Germany, set up several foundations, and was passionately dedicated to issues he saw of artistic, social and humanitarian importance.Combining Grass' writings with over 800 reproductions of his visual art, documents and photographs, Six Decades allows us to follow his working processes from book to book, from year to year. He shares with us moments of private happiness and crises through texts and images, many of which were not originally intended for publication, including preparatory sketches, draft manuscripts, book cover designs and work plans.

This publication brings together for the first time Anish Kapoor's architectural projects and ideas that span the last 40 years. These are concepts that continue to inform all areas of Kapoor's artistic output, many of which have been realized in works that confound the distinctions between art and architecture, pushing architecture into radical new territory.Kapoor's projects renegotiate the relationship not only between art and architecture but also between the very sense of space within ourselves and that of the external world. The forms he presents to us create spaces that blur the duality of subject and object, of interior and exterior. Monochrome fields of color, mirrored surfaces and fathomless voids all destabilize our place in the world. The more than 2,000 sketches, models, renderings and plans in this book show the journey of these forms to how they might exist in reality as well as the spaces they inhabit or create, both outside and within us.

This book presents a series of diptychs of Toshiya Watanabe's hometown of Namiemachi in Fukushima-the first photo showing the subject shortly after the 2011 Tohoku earthquake and tsunami, and the second photo of the same subject from the same viewpoint a few years later.Namiemachi was declared off-limits following the nuclear meltdown in Fukushima, yet when Watanabe did gain permission to return he photographed around his family and friends' homes, his former school route and areas where he played as a child. In some of the resulting diptychs only a short space of time seems to have passed between photos, with little changed besides the weather. In others, entire life phases seem to have come and gone-in one pair, a 7-Eleven first stands proudly before becoming a boarded-up relic; in another, a collapsed building is replaced by a vacant lot covered with foliage. "At first," Watanabe remembers, "I felt like time had stopped. But gradually the town fell into ruin, as if going against the current of history."

YKTO contains over 1,800 photographs by Tomoyuki Sagami of buildings and houses constructed in Japan soon after World War II. Presenting images taken between 2006 and 2017 in Yokohama, Kawasaki, Tokyo and other cities (hence the book's title), Sagami creates an archive for future generations of idiosyncratic architectural styles that are disappearing due to changing laws and lifestyles, and the ever-growing Japanese metropolis. Sagami adopted a systematic, impersonal method for his project: while employed to post advertising flyers in various neighborhoods, he photographed the particular area he found himself in, block by block, without any prior knowledge of its geography. The resulting images of homes, shops, streetscapes, gardens and alleys are eerily absent of people and free from any personal emotion or inclination on Sagami's part. YKTO is a timely topography of a rapidly vanishing form of urban existence in Japan.

Since the Great East Japan earthquake of 2011, Toru Komatsu has taken photos of trees in places that suffered damage from the earthquake and subsequent tsunami. Fifty of these images comprise A Distant Shore, which documents the eerily beautiful aftermath of the disaster. On his travels throughout Japan Komatsu was particularly fascinated by monumental rocky crags that seem like islands floating on the land. Mostly scattered with pine trees, the crags are landlocked but were once surrounded by the sea. Typically cordoned off by ceremonial ropes, they are today treated as holy areas embedded with the memory of their past-in Komatsu's words, "I imagine that an island floating on the land still hasn't forgotten the ocean that once surrounded it, even if the sea is now many miles away." Circular cutouts placed before each square photo allow the images in the book to be experienced both as cropped circles and the full square layouts, creating a sense of peering through a peephole or a telescope from the wrong end, and transforming the photos into a setting for a dramatic play while commenting on the limits of our fields of vision.

This book is Gentaro Ishizuka's documentation of the melancholy remnants of Alaska's gold rush of the late nineteenth century. The discovery of gold in the Alaskan wilderness attracted hoards of fossickers and industrialists, each hoping to strike it rich. Yet the subsequent reality was that the rush was unprofitable for most except the lucky (and ruthless) few; in time most diggers moved on to pursue new dreams and nature remained violated by their efforts. Ishizuka's photos of rusted shovels and machinery, dilapidated log huts dwarfed by the landscape, and eerie interiors and still lifes show the ghosts of human activity and how nature is slowly reclaiming her territory.

Selfies are today an inescapable part of our visual landscape and our self-expression, and the ultimate dream of many selfie-takers is to snap oneself with a celebrity. Takumi Hasegawa fulfills this dream in this book, which presents him posing with his personal legends of the international rich and famous. From the worlds of fashion (Anna Wintour, Grace Coddington, Riccardo Tisci) and architecture (Rem Koolhaas, Zaha Hadid, Frank Gehry), to the arts (Jeff Koons, Yayoi Kusama, Thom Yorke) and luxury moguls Bernard Arnault and Pierre Bergé, Hasegawa's subjects speak for themselves. Yet the resonance of his project is more complex: in When Takumi Met the Legends of the World, designed as an intimate scrapbook or album of memories, Hasegawa's joy in each shot is palpable, but so is a sense of the seductive, false promise of fame.

Abstrakt is a collection of photographs selected by Ernst Haas for atwo-projector 25-minute film he worked on until his death in 1986. The photographs span his entire career in color from 1952 to 1984. Many of the photographs were shown in Life magazine's fist color issue devoted to Haas' 1953 story on New York "Images of a Magic City," and in his 1962 solo exhibition "Ernst Haas: Color Photography" at the Museum of Modern Art, the first color retrospective at that institution.The photographs in this book show various abstractions-from street detritus, to torn posters and other found objects. Haas considered this project to be the culmination of his work in photography.

42nd Street, 1979 contains Langdon Clay's 1979 photos of a quintessential strip of 42nd Street near New York's Times Square, showing its gritty neon charm before it became the more Disney/Las Vegas hub for theater concoctions that we know today. Clay recalls the drab and dusty mood in New York City at the end of the 1970s: the once-exciting political sea change wrought by the Vietnam War and the Haight Ashbury drug experiment had given way to a sense of apathy, intensified by the aftermath of an oil crisis and the lingering Cold War. The particular stretch of 42nd Street between 7th and 8th Avenues had now shifted from the glorious home of gilded movie palaces of the 1940s to the shadowy site of porn theaters which many saw as the area's ruin. Yet here real-estate moguls saw potential to transform this heart of Manhattan into a mecca of tourism, framed by skyscrapers and shaped by commerce and fast pleasures. "It was with this coming change written on every wall that I sought to record for posterity that famous block between 7th and 8th Avenues," says Clay, "My only regret is that I didn't do the south side of the street."

Shortly after William Henry Fox Talbot announced his invention of photography in 1839, the dedicated amateur botanist Anna Atkins, daughter of a prominent British scientist, began to experiment with the new medium. In 1843 she turned to her friend Sir John Herschel's recently discovered cyanotype process to publish her growing collection of native seaweeds-a daring way to introduce photography into book illustration. At regular intervals over the next decade, Atkins printed and issued these bracingly modern, deeply-hued photograms to her "botanical friends" in the form of hand-stitched fascicles of a book she entitled Photographs of British Algæ: Cyanotype Impressions.The first book to be illustrated by photography and the earliest sustained application of photography to science, British Algæ is a landmark in the histories of publishing and photography. Of the nearly two dozen substantially complete or partial copies known to exist, each is distinct in its appearance and often in its number and arrangement of plates. The set of 13 parts she gave to Sir John Herschel-now in the Spencer Collection of The New York Public Library-is especially important and was carefully preserved by generations of the Herschel family exactly as Sir John received it. This sumptuous facsimile edition reproduces the recto and verso of each plate, presenting the work as its creator intended: as bound volumes to lingered over, studied and admired, page by extraordinary page.Co-published with The New York Public Library

This book is the evocative four-year journey of Paul Drake and Helen File into one of the most secretive and heavily fortified borders in the world. For 37 years over 800 watchtowers monitored the surveillance along the Inner German Border; they were the first line of defense against the West and one of the most infamous sites of the Cold War. Continuous games of binocular warfare were carried out by both NATO and the Warsaw Pact across the 500m Schutzstreifen or, as it was known in the West, "The Death Strip."In the ten months between 9 November 1989, when the borders of the German Democratic Republic fell, and the unification of Germany in 1990, over 700 watchtowers were demolished along the Inner German Border. Through meticulous research and with assistance from guards stationed along the border and Berlin Wall, Drake and File have compiled a concise documentation on the watchtowers of the former border. Once an inaccessible and isolated area, the border is now the largest nature reserve in Germany. Drake and File illustrate these remnants of the Cold War in a compelling set of images showing the remaining 75 watchtowers in their current states.

In 2003, as David Freund was driving to Missouri to see a 102-year-old friend, she died. Reflecting on their meeting when he was a child, he stopped in Illinois to photograph an old playground. Besides swings, teeter-totters and slides, there were cannon, war memorials, a picnic area, a cornfield, and a baseball field; evocative and telling, a site of community and play. The moment launched a two-year odyssey to find and photograph such places. Freund soon realized playgrounds were an endangered species. In cities, because of safety and liability concerns, their apparatus, familiar to many childhoods, had largely been supplanted by bright structures of multicolored plastic and enameled steel. Thus, Freund focused on small towns where tradition, inertia and budget often permitted early playgrounds to survive. These were usually unoccupied, so children rarely appear in Freund's photographs, although alluded to in footprints, worn paint, and ruts under swings. Weather, light and viewpoint contribute to suggested narratives, yet the direct preservation aspect of the project is clear. As with other species that vanish, one day they are everywhere, the next, gone.

In this compendium, Lee Friedlander examines the ordinary pickup truck, a quintessentially American mode of transportation. Unadorned in form as well as function, pickups have long been the vehicle of choice for farmers and tradespeople. Their well-worn beds-usually open to the elements, laid bare for all to see-have held and hauled all manner of things, from spare tires and jumbles of wires to animals and the occasional person. Friedlander, in his witty and encompassing, clear-eyed idiom, has observed this most utilitarian and unapologetically personal object in its native setting: the cacophonous bricolage that is American social landscape.

In the capstone volume of his epic series "The Human Clay," Lee Friedlander has created an ode to people who work. Drawn from his incomparable archive are photographs of individuals laboring on the street and on stage, as well as in the field, in factories and in fluorescent-lit offices. Performers, salespeople and athletes alike are observed both in action and at rest by Friedlander's uncanny eye. Opera singers are caught mid-aria, models primp backstage, mechanics tinker and telemarketers hustle. Spanning six decades, this humanizing compilation features over 250 photographs, many appearing here for the first time in print.

Half-Frame Diary: End of the Century presents a selection of photos made between 1998 and 2000 from artist Sheva Fruitman's decades-long photo-diary project. These images idiosyncratically mirror everyday life at the end of the twentieth century, captured by Fruitman as she traveled the world.Composed as diptychs, the half-frame photos are pairs, with two vertical images in the space of one 35mm frame. Resonances between these sepia-toned streetscapes and interiors link their original contexts and create episodes from layered, incomplete narratives: be it bunches of ripe bananas played against a tarot reader's neon sign of a palm, changing reflections in a shop window, or the linear patterns of buildings and a cherry picker versus those of a subway platform. These once timeless scenes, now published for the first time, are remnants of a not-too-distant world that no longer exists.

Robert Heinecken seldom used a camera. A self-described "para-photographer," he repurposed found imagery to explore the underpinnings of daily life. He cut into periodicals-snipping heads from lithe bodies and slicing rouged lips from smiling cheeks-and reorganized these fragments into collaged wholes that reveal the greed, hypocrisy and misogyny behind traditional depictions of America, and expand the possibilities of the photographic form. This book presents Heinecken's "Periodicals" (1969-72) and "Revised Magazines" (1989-94) as 25 functional facsimiles. Originally conceived as insertions into circuits of quotidian life, these collage-publications were taken from newsstands, altered, and then returned to be purchased by unsuspecting consumers. By pasting a Vietnam War image into fashion magazines or a dominatrix into Time, Heinecken created serials that are disturbing yet familiar; known cultural referents now oppose their presumed functions. Heinecken's clandestine acts not only render these mechanisms visible, but intervene with them. In the reader's hands Heinecken's serials are mutable and limitless, much like his approach to the entire photographic medium-an endless series of ideas proposed by and through the very system they examine.Co-published with Pace/MacGill Gallery and Petzel Gallery, New YorkLimited edition of 1,000 boxed sets

On the night of 13 November 2015, Paris was convulsed by a series of coordinated attacks. Sze Tsung Nicolás Leong, not far from the strikes, did not consider taking photographs, weighed on not only by the difficulty of depicting a city already so exhaustively pictured, but more so by the impossibility of representing such tragedy. The next day Leong, wandering the city in the aftermath of the events, turned his camera downward to the ground, focusing on an aspect of the city we repeatedly look at yet largely do not notice. The resulting photos render a seemingly known city strange and unfamiliar. At first appearing to be abstractions or even aerials or views of the cosmos, they reveal specific details we would otherwise miss and which contain gravity in their apparent banality-from cigarettes left on the asphalt by mourners, to the footprints and broken glass of the night before, and the sawdust scattered on the sidewalks soaking up blood. Paris, Novembre is a portrait of a city at a traumatic moment in its history and an exploration of how that history leaves its marks on the city's ground. Leong's series is a gesture of mourning and contemplation, seemingly of nothing and the reluctance to look, yet at the same time of looking closely and intently.