Search results for ""Steidl Publishers""

Between 1925 and 1938, photographer E.O. Hoppé traveled the length and breadth of Germany, recording people and places at one of the most tumultuous times in the country’s history. He photographed movie stars and captains of industry, workers and peasants, and captured the birth of the Autobahn and UFA film studios in its heyday. He saw the rise of fascism, the creation of vast new suburbs, and the displacement of people from their traditional ways of life. With unprecedented access to the country’s world-famous factories and industrial installations, he witnessed Germany as few others could—barreling headlong into the unknown. Moving, insightful, and deeply revealing, the full significance of Hoppé’s German work has been unknown until now. This volume combines photographs published in Hoppé’s legendary book of 1930, Deutsche Arbeit, with many new pictures never previously seen. From factory floor to the commuters of Berlin and Munich, Hoppé’s photographs reveal the profound social and economic tensions that preceded the Second World War. This publication uncovers Hoppé as a pivotal figure in the history of twentieth-century photography, who introduced for the first time elements of typology, seriality and sequence, which have become key elements of contemporary photographic practice. Hoppé used his experience in Germany to develop a new modern style of photography—showing not just how things looked, but how it felt to be there.

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“Inspired by a semi-autobiographical book by the mid-20th century German printmaker HAP Grieshaber, I have used his idea to create a story of fifty years as a printmaker. The book includes interviews with my printers and memories of my life around the prints I made at that time. I have made over a thousand prints so far and I am not done yet. There are “key” images illustrated, and the text attempts to marry the technical with my emotional feeling for the mediums, etching, lithography, woodcut and silkscreen. I have included recipes for variations on intaglio and some stories of my friendships with these gifted artisans who have produced this work.” Jim Dine

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Having left South Africa at the age of four as a political refugee with his parents, photographer Koto Bolofo returned to his home country with his wife in 1992, two years after Nelson Mandela had been released from prison. Bolofo got free access to the notorious and by now deserted prison of Robben Island, where Mandela had been held for the majority of the twenty-seven years of his confinement in a cell of barely 6 square metres in Section B. The photographer and his wife eagerly began documenting the site’s abandoned interiors and surroundings, dreading the prison’s potential closure. It was converted into a well-frequented museum in 1997 and included on the World Heritage List by UNESCO in 1999. The black-and-white photographs of this volume conspicuously favor close-up depictions of details as opposed to general views: leftover items, barbed wire fences, spacious dormitories viewed through a spyhole, the key in the lock to Mandela’s cell which is so tiny it cannot be taken as a whole—all this is conveying the gloomy sense of claustrophobia and suppression that characterise the place. The camera is constantly searching for the few rays of light that penetrate the ubiquitous grimness and silence of cruelty.

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This first published monograph by Domingo Milella is a photographic journey from his hometown in the outskirts of Bari in southern Italy, taking us to Mexico City, Cairo, Ankara, Anatolia, Sicily, Tunisia, and as far as Mesopotamia. Milella’s subject is cities and their borders, cemeteries and villages, caves and homes, tombs and hieroglyphs—in short, signs of man’s presence on earth. His interest is the overlap between civilisation and nature, and how landscape and architecture are invested with individual and collective memory. These photographs emerge from and challenge classical ideas of landscape in art history, and seek an alternative iconography in which an almost forgotten past coexists with the present. Says Milella: “Making images doesn’t only mean documenting or taking photographs. It’s also a possibility for contemplation and recollection. Building an image of the past is to face the present, and activate the possibility of the future.”

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Waikiki, one of Honolulu’s most famous neighbourhoods, had already become a crowded tourist destination when Wessel photographed there in the late seventies and early eighties. This book contains Wessel’s edit of these pictures and is a record of American leisure at this time: of surf, sand and inexhaustible pleasure-seekers. Yet Wessel equally explores the contradictions of Waikiki – concrete hotels invading pristine beaches, culture encroaching on nature. Despite all the fun in the sun, Wessel’s subjects are often distanced and dissatisfied, suggesting an underlying unease.

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Invents the context for a new melody for the art of Jim Dine. In this title, Dine has reflected authentically on his own identity and through it the identity of reality, nature, art, thoughts, feelings in an extraordinary poetic way: We see a 'POEM', we read an 'IMAGE'. It may be read and regarded as a summary of an unusual life.

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Robert Frank’s father, Henry, was both the proprietor of a bicycle shop in Zurich, and a keen amateur photographer. Father – Photographer makes public for the first time a selection of Henry Frank’s photographs including landscapes, family portraits, still-lifes and cityscapes. When Robert Frank immigrated to the United States in 1947, a wooden box containing his father’s stereophotographs was one of the few objects he brought with him. In 2008 that box and the fragile photographic glass plates within it were hand-escorted to Steidl in Göttingen, where they were scanned in tri-tone in preparation for this book. Designed by Robert Frank, Father – Photographer reveals Henry Frank to be both a talented photographer and a keen traveller. His pictures include snow-capped Alps and lakes in Switzerland, views of Venice, Pisa and Florence, and depictions of his family and friends including the young Robert. Henry Frank also reveals a passion for modern means of transport in images of aeroplanes, ships, hot-air balloons, and a car fair at the Grand Palais in Paris. Father – Photographer is a revelation of the unknown photographer Henry Frank, a historical photographic document of the early twentieth century, as well as a new chapter in Robert Frank’s ongoing bookmaking.

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“Pink is the navy blue of India.” Diana Vreeland How does one photograph Delhi without the results looking like clichéd, tourist-friendly images from the pages of National Geographic? How does a photographer of David Bailey’s standing portray India without seeming con descending? Bailey has been to India fifteen times, and in these photographs he avoids depicting the cultural and economic differences between East and West that can make photos of the country seem overly didactic. Instead, Bailey depicts the colours, textures and people that characterise Delhi – a magenta sari, an infant walking down a rust-coloured road, a bright blue plastic tarpaulin – and so creates a portrait of the city that is sensitive without being self-indulgent.

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In Metamorphoses of an American Karl Lagerfeld traces the physical and emotional development of Brad Kroenig, once an unknown but now the world’s most sought-after male model. Lagerfeld discovered Kroenig in 2003, took his first photographs of him in Biarritz, and since then has observed him through his photographic lens, month by month. In hundreds of photographs Lagerfeld explores Kroenig’s evolution from a young “All American Boy” into a professional model conscious of the subtleties of facial and corporeal expression. These photographs are however not simply documentation; rather Lagerfeld and Kroenig work together to create a new persona, one which Kroenig expresses without losing a sense of his own self.

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Unlike many photographers who maintain a strict divide between their commercial and private work, Teller has always combined the two. Indeed this merging is one reason for Teller’s progressive edge. The Keys to the House contains recent photographs of Teller’s life at and around his house in Suffolk: landscapes, portraits of family and friends. But of course Teller’s vision would not be complete without the occasional fashion figure who was entered his personal world – be it Lily Cole floating like Ophelia, or Vivienne Westwood leaning on a red Mercedes Benz. Born in 1964 in Erlangen, Germany, Juergen Teller has lived in London since 1986. His influential fashion photography has been published extensively, and solo exhibitions of his work have been held at the Fondation Cartier pour l’art contemporain in Paris and the Kunsthalle Wien among other institutions. Teller’s books with Steidl include Louis XV (2005), Marc Jacobs Advertising 1998–2009 (2010) and Zimmermann (2010).

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