Search results for ""steidl publishers""

This book considers the film stills of Ernst Haas, one of the most accomplished photographers of the twentieth century, transgressing the borders between still photography and the moving image. Haas worked with a variety of eminent directors— from Vittorio de Sica to John Huston, Gene Kelly and Michael Cimino—and depicted cinema genres from suspense (The Third Man, The Train) to the Western (The Oregon Trail, Little Big Man), and from comedy (Miracle in Milan, Love and Death) to musicals (West Side Story, Hello Dolly!). Haas inscribed a temporal, filmic dimension into his stills which, viewed in a sequence, generate movement and narrative. So accomplished was his mastery of color, light and motion that Haas was frequently asked to photograph large group actions—from the battle scenes of The Charge of the Light Brigade and the dances of West Side Story, to the ski slopes of Downhill Racer. On Set elucidates a novel perspective on the sets and stars Haas photographed, and reveals a little-known but crucial dimension of his oeuvre.

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The New York curator Marvin Heiferman characterized Lewis Baltz’s landscape photography as a “topography of the emptiness of random, damaged, remote places”. The images in his 1989 series Candlestick Point show Californian fallow land, where piles of rubble and waste accumulate in the middle of the prairie. Traces of technical land development – drainage channels and water dams – are visible, becoming a typically American theme: the development of a territory in the almost infinite prairie. Baltz’s photographic record of the development at Candlestick Point combines sociological and analytical rigour and is strongly oriented towards the tradition of Land Art, and retrospectively pays tribute to its crucial influence on conceptual art since the 1970s. Candlestick Point was first published in 1989 and has been unavailable for decades, other than as an expensive collectible on the secondary photobook market. Lewis Baltz’s works have been the subject of over fifty one person exhibitions. Seventeen monographs have been published on his work. He came to prominence as a part of the ‘New Topography’ movement of the 1970s. Baltz studied at the San Francisco Art Institute and received a Master of Fine Arts from Claremont Graduate School in 1971. He is currently based in Paris and Venice.

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In August 1992 Robert Frank’s good friend and antique dealer Reginald Rankin invited Frank on a trip to Pangnirtung, a village of around 1,300 Inuit inhabitants in the Arctic Circle. This book is Frank’s documentation of the five-day sojourn. Curiously Frank depicts Pangnirtung void of its people: the still harbour, public housing, a convenience store, a telephone post. Sincere without being sentimental, the photos are shaped by a short text from Frank himself, “Prefabricated homes along the main road in Pangnirtung. At times a decorated window – reflections inside or outside. Stones – maybe the balance of a big sky above…” Robert Frank was born in Zurich, Switzerland in 1924 and immigrated to the United States in 1947. He is best known for his seminal book The Americans, first published in 1958, which gave rise to a distinct new form in the photo-book, and his experimental film Pull My Daisy, made in 1959. Frank’s other important projects include the books Black White and Things, 1952, and The Lines of My Hand, 1972, and the film Cocksucker Blues for the Rolling Stones, 1972. He divides his time between New York City and Nova Scotia, Canada.

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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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