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This book presents the extraordinary beauty of an eclectic range of botanical specimens, both familiar and exotic. The 89 intricate illustrations are each by a different member of the French Society of Botanical Illustration, an institution created in 2011 from a passion for all things flora, and with the ambition to re-assert the great traditional of French botanical drawing, to revitalize the link between professional and amateur artists and promote their work internationally.These glorious images are realized in watercolor, colored pencil, gouache and graphite, and reveal a dizzying spectrum of plants-from magnolias, camellias and agapanthus; to peach, grapes and asparagus; to walnut, chestnut and palm trees... Whether an illustration captures the ruby drops of a raspberry, the feathery petals of poppies or a shiny stalk of bamboo, the results convey not only the precise physical characteristics and charm of their subjects, but also the patience and verve of their creators.Sprachen: Englisch, Französisch

This book is an intimate personal correspondence between two leading political artists at a time of crisis.In the summer of 2020, their collaboration suddenly halted by Covid-19, photographer Fazal Sheikh (born in 1965) and writer, educator and activist Terry Tempest Williams (born in 1955) found themselves 5,000 miles apart, Sheikh in Zurich, Switzerland, Tempest Williams in Castle Valley, Utah. Like so many others, they communicated across the days and nights by text and email, reflecting on the state of politics as the pandemic spread across the world.Looking bakc over his work, Sheikh decided to make a gift for Tempest Williams as a gesture of friendship and respect in troubled times. He selected 30 images, one for each year of his life as an artist, corresponding to one complete cycle of the moon. Some weeks later, a package arrived in Zurich. Inside were 30 letters from Tempest Williams, each responding to a single image, written across 30 days, another lunar cycleStudying the images had led her to wider, more philosophical considerations of the ways they connected to contemorary events: climate change, the rise of Black Lives Matter, the advances of woman and the focus of her work with Sheikh-their alliance with Native Nations in the American southwest supporting Bear Ears National Monument and the protection of these sacred lands.The spontaneous nature of the correspondence in the middle of the pandemic made it all the more immediate, and when images and words were placed together, both artists where surprised by the intimacy of what they created in isolation. They felt it could be an offering to others who shared their concerns and might find comfort in the exchanges. This book ist the result of a friendship forged through art and their shared desire to collaborate on issues larger than themselves in a world broken and beautiful.

Henry Leutwyler is certainly no stranger to the art of ballet-for many years he photographed on stage and behind the scenes at the New York City Ballet, culminating in his book Ballet, since published by Steidl in two editions. Yet Misty Copeland pushes Leutwyler's vision into a new direction: neither a strict portrait of the renowned ballerina nor a mere documentation of her exceptional craft, this is an intimate collaboration between photographer and subject that explores the subtleties of Copeland as a performer, person, persona and idol.Born in Kansas City, Missouri, and raised in San Pedro, California, Copeland's biography has all the arc of a fairy tale: she was living in a shabby hotel room, struggling with five siblings for a place to sleep on the floor, when she began ballet studies at the late age of 13. She soon proved a prodigy: within three months of her first class she was dancing en pointe, in just over a year she was performing professionally. In 2015 she became the first African-American woman appointed principal dancer at the prestigious American Ballet Theatre in the 75 years of its existence. In Copeland's own words: "The path to your success is not as fixed and inflexible as you think."