Search results for ""Steidl""

Twenty-five years after his seminal 1988 book, Invisible City, Ken Schles revisits his archive and fashions a narrative of lost youth: a delirious, peripatetic walk in the evening air of an irretrievable Downtown New York as he saw and experienced it. Night Walk is a substantive and intimate chronicle of New York’s last pre-Internet bohemian outpost, a stream-ofconsciousness portrayal that peels back layers of petulance and squalor to expose the frisson and striving of a life lived amongst the rubble. Here Schles embodies the flâneur as Susan Sontag defines it, as a “connoisseur of empathy … cruising the urban inferno, the voyeuristic stroller who discovers the city as a landscape of voluptuous extremes.” We see in Night Walk a new and revelatory Ulysses for the twenty-first century: a searching tale of wonder and desire, life and love in the dying hulk of a ruined American city.

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Contains two complimentary bodies of Raoul de Keyser's work: paintings mostly from 2008 and 2009, and drawings made between 1979 and 1982 in diverse media including pencil, ink, watercolour, acrylic and oil chalk.

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This work is about the phenomena of appearance and disappearance. The book shows 36 head-shots of a clown. If mutability of appearance is integral to the phenomenon of the cloud - since dissolution or erasure is inevitable - the converse is proposed for the clown.

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"Hi, my name is Jimmy," a crow said to the boy, Jim Dine, when his parents took him to the zoo. The two Jimmys got connected by a secret link. "Lots of things scared me when I was a little boy but this scared me and it also...I understood it." The encounter with the bird was perceived by the boy as a mixture of fear, fascination and a deeper understanding of his unconscious world. The artist later transformed his remembrance into a fascinating series of black-and-white photos. Are they symbolic, profound, mystic or just pictures of beloved animals? An everyday unspectacular bird might appear to the beholder as a character of mythology, as a jester at the medieval court, as a strange messenger of a world behind the scenes. Jim Dine speaks to the birds, and the bird answers, because they are on intimate terms.

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Social and cultural transition is often hard to gauge. New York in the 1980s and the first half of the ’90s was clearly a different place than it is now: the city was more violent, the street stranger, and Times Square still wonderfully sleazy. Andrew Savulich’s subject is this perpetually changing metropolis, and his images are a unique mix of spot news and street photography, capturing crime scenes as well as everyday life. The startling immediacy of the moment prevails in his black-andwhite images on which he provides handwritten captions. What at first seems like objective commentary soon reveals Savulich’s dry ironic tone, at times bordering on black humor.

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The five comprehensive volumes of The Unknown Abbott present hundreds of unseen and till now unpublished images from the sweep of Berenice Abbott’s seminal career. New York—Early Work contains rare images of New York after the Wall Street Crash of 1929 made by Abbott with a small hand-held camera as sketches for large format photographs. The American Scene showcases photographs from Abbott’s journeys through America in 1933, 1934 and 1935, hardly seen since that time. Deep Woods presents Abbott’s 1943 and 1967 images of the Red River Logging Company in California’s High Sierra Mountains, her first such documentary project. Greenwich Village collects for the first time the spectrum of Abbott’s photographs of Manhattan’s beloved Lower West Side neighborhood, her home when she left Ohio in 1918 and again in the mid-1930s. Finally, U.S. 1, U.S.A., including Abbott’s first experimental work in color, records her ambitious trip down the length of U.S. Route 1 in 1954, a precursor to Robert Frank’s The Americans.

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Outposts / Kandahar Province presents Donovan Wylie’s photographs of Forward Operating Bases constructed in the Kandahar Province of Afghanistan. From 2006 to 2011, Canada sent nearly 3,000 military personnel to Afghanistan in support of NATO’s International Security Assistance Force. Serving alongside infantry and artillery, military engineers designed a network of outposts throughout the province. Built on natural promontories with multiple lines of sight, these outposts formed a protective visual architecture. They were frequently positioned on defensive locations established during earlier conflicts and represent reincarnations of past histories under new powers. The resulting images are the latest phase in Wylie’s interrogation of the architecture of modern conflict. The work was made on behalf of the Imperial War Museum in London and with generous support from the Bradford Fellowship in Photography.

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