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With beautiful photographs of private and public buildings by Julius Shulman, Candida Höfer, Andreas Gursky, Thomas Struth, and others, this book examines the central and active role that photography plays in defining and perpetuating the iconic nature of buildings and places. This volume shows how different photographers represent the same building, offers commentaries on the “American dream,” and explores changes in commercial architectural photography. Placing decades-old images alongside modern ones, Image Building depicts the idea of the comfortable middle-class home and the construction of suburbia as an ironic ideal. It presents the ways that public spaces such as libraries, museums, theaters, and office buildings are experienced differently as photographers highlight the social, cultural, psychological, and aesthetic conditions to reveal the layered meanings of place and identity. 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Disturbing and controversial, Bellmer's dolls - with their uncanny, fragmented bodies and eroticized poses - were just as shocking during Bellmer's time as they are today. Until now there has been little available in English about Bellmer's dolls, and Lichtenstein's book will be welcomed for its fresh interpretation of the artist's work and his place in European modernism. Eighty striking photographs accompany the text. Working during a time when Nazism was on the rise. Bellmer created several dolls with fragmented bodies that could be dismantled and arranged in various configurations. Using a narrative format, he then photographed the dolls in a range of grotesque - often sexual - positions. The images he conveyed were of death and decay, abuse and longing, in stark contrast to Nazism's mythic utopian celebration of adolescence. Lichtenstein interprets Bellmer's complex expressions of eroticism as a protest against the Nazis and also against his father, a cold and repressive Nazi sympathizer. At the same time, she says, by hyperbolically flaunting a passive femininity in a theatrical manner. 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