Richard Misrach's photographic study of the iconic Golden Gate view reveals an astounding range of changing weather, light and colour. The result is a breathtakingly beautiful and surprisingly unique array of images, appealing to those who have visited this famous vista, as well as those that know it only by name.

Never before has imperialist victory or defeat so much depended on a struggle for hegemony in the world of images; and never before has the dominant world power been subject to real catastrophe in the realm of the Spectacle, as happened to the US on September 11.

Addresses questions such as: Why do we find ourselves returning to certain pictures time and again? What is it we are looking for? And how does our understanding of an image change over time?

This text shows how certain artists tried to cope in the years following the 1848 French revolution. Concentrating on four particular artists who had little in common, the book shows how they were affected by the events of the time, and discovers links between their work and the Second Republic.

This work discusses the art of Gustave Courbet in the years directly after the 1848 revolution, showing how complex Courbet's intuition of the social and political issues of the time really was, and how appropriate were the pictures he painted for the Salon of 1851.

This is a biography of Guy Debord, prime mover of the Situationist International and author of The Society of the Spectacle . It offers an account of Debord's last avant-garde on its way from radical bohemianism to revolutionary theory, and discusses Debord's films.

Why do we keep returning to certain pictures? What is it we are looking for? How does our understanding of an image change over time? This book addresses these questions investigating into the nature of visual complexity, the capacity of certain images to sustain repeated attention, and how pictures respond and resist their viewers' wishes.

Questioning those who view Impressionism solely in terms of artistic technique, T.J. Clark describes the painting of Manet, Degas, Seurat and others as an attempt to give form to France's modernity and seek out its typical representatives, be they barmaids, sightseers or the petits bourgeois.