Search results for ""steidl""

“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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“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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In Steidl’s ongoing project to catalogue the life’s work of this Italian master of the photographic medium, this slipcased edition brings together the two volumes which encompass all Massimo Vitali’s images to create a collector’s edition. Volume I is the second edition of Landscape with Figures, the award winning book first published in 2004. Published in a marginally smaller format than the original, the production of this new edition utilises new scans to take advantage of the significant technical developments since the first edition was printed. Volume II is a copy of the first edition of the recently published Natural Habitats. The first 1,000 copies of this limited, slipcased edition includes a giant poster which maps the family tree of Vitali’s works, a visual geneology which is also the history of the artist’s work.

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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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