Search results for ""Steidl""

Last season we published Horn's Dictionary of Water, a universal lexicon, now we offer This is Me, This is You, Horn's handbook of identity. Here in this uniquely bound twinned volume we have a book with no end. Peruse the 48 images taken with a 'point and shoot' camera, and as you arrive at the last image, you turn the book over and begin again: now with a paired complement for each of the 48 images, taken only a few seconds later. This work, a single and singular portrait photographed over a two year period evokes a multitude - of identities, of images, of icons from Bette Davis to Marlon Brando. Ultimately it is the multitude in each of us. Along with other recent installations, This is Me, This is You was premiered last fall at DIA's Center for the Arts in New York City.

Read more less

Hack Wit is a playful and complex body of work developed between 2013 and 2015, using clichés or proverbs and watercolor. For each work, the artist made two watercolors of a different proverb, cut them apart and then combined them into one. The Canadian poet Anne Carson wrote the text Hack Gloss in response to the “Hack Wit” drawings.

Read more less

Generation AK. The Afghanistan Wars 1993–2012 is a retrospective selection of images of the country where Stephen Dupont has covered everything from civil war and the rise of the Taliban in the 1990s, to the launch of “Operation Enduring Freedom” and the ongoing war on terrorism. Dupont completed much of this work on self-funded trips and as part of one of the last small independent photographic agencies, Contact Press Images, of which he has been a member since 1997. In 2008 Dupont survived a suicide bombing while travelling with an Afghan opium eradication team near Jalalabad.

Read more less

This publication focuses on the early work of Richard Serra, one of the most influential artists working today. The works included in this volume represent the beginning of the artist’s innovative, process-oriented experiments with non - traditional materials, such as vulcanized rubber, neon, and lead, in addition to key early examples of his work in steel and a selection of the artist’s films from this period. The interplay of gravity and material that was introduced early in Serra’s career set the stage for his ongoing engagement with the spatial and temporal properties of sculpture. This monograph aims to reconsider the groundbreaking practices and ideas that so firmly situate Serra in the history of 20th-century art. The publication includes a text by Hal Foster, in addition to a selection of archival texts and photographs from the years 1966 to 1972.

Read more less

Between 1999 and 2011 David Goldblatt created personal photography in color for the first time. While Goldblatt had employed color extensively in his professional work since 1964, it was only with the new political dispensation and the advances of digital reproduction at the end of the millennium that he felt it pertinent comprehensively to make personal photographs in color. Initially Goldblatt photographed in his immediate environment Johannesburg, before deciding to examine South Africa by taking photographs within a radius of 500 meters of each of the 122 points of intersection of a whole degree of latitude and a whole degree of longitude within its borders. Yet in time Goldblatt encountered uninspiring locations and abandoned the project, although he retained the idea of intersections. From time to time, over a period of nine years, he travelled the country in search of intersections—of ideas, values, histories, conflicts, congruencies, fears, joys and aspirations— and the land in which, and often because of which, these formed. This book brings together a selection of Goldblatt’s color photography in South Africa from 2002 to 2011. An earlier version, Intersections, was published by Prestel in 2005, and the catalogue Intersections Intersected, consisting of paired black-and-white and color photographs, was published by the Serralves Museum, Porto, in 2008.

Read more less

Distance and Desire – accompanying the same-titled exhibition in Neu-Ulm – is the first major publication to stage a dialogue between the ethnographic visions of late nineteenth and early-twentieth century African photography and engagements with this imagery by contemporary artists. Presenting an extraordinary range of portraits, albums, postcards, cartes de visite, and books from Southern Africa, as well as recent photography and video art from The Walther Collection, the catalogue includes original thematic essays by leading art historians, anthropologists, and cultural critics. Distance and Desire offers new perspectives on the African archive, reimagining its diverse histories and changing meanings. Distance and Desire investigates typical representations of African subjects, from scenes in nature and romanticized images of semi-nude models, to modern sitters posing in stylized studios, critically addressing the politics of colonialism and the complex issues of gender and identity. Among many diverse topics, the catalogue examines in-depth a series of cartes de visite from the Diamond Fields in Kimberley, the figure of the Zulu, the history of South Africa’s prominent studio photographers, A.M. Duggan-Cronin’s extensive ethnographic study The Bantu Tribes of South Africa, and the archive of elegant family portraits reproduced by the contemporary artist Santu Mofokeng in The Black Photo Album / Look at Me: 1890-1950. The catalogue also reveals how the heritage of African imagery figures in the practices of contemporary African and African American artists, whose compelling photography and video art reworks the archive through satire or appropriation.

Read more less

The soaring, rigid walls of the tenement blocks torn open by the bombing of World War II dominated the German streetscapes of the 1950s. Fire walls, originally integrated in the building and serving as fire shields, suddenly became visible and turned into outer walls. That is how the originally rather technical term got a new meaning: Firewalls as walls spared by the fire. Those long brick walls often adjoin to vast vacant lots once taken up by buildings that were never reerected after the war. Windows—sometimes bricked up again—cover the walls without any rational order, bearing witness to the troublesome moments of Germany’s history, just like smut, traces of bullets, shrapnel holes, the outlines of previous buildings, and provisional repairs. The remarkable housing boom following the fall of East Germany whitewashed most of the scars and overgrew the occasional graffiti and advertisements originally decorating those walls. A look behind them reveals—like a negative form of the same cast—the imprint of the building’s story.

Read more less

Juergen Teller has spent the last year carrying out a study of the "Reichsparteitagsgelande", the site of the Nurnberg Rallies, and a place he used to visit in his youth. The results are a series of images of stone and flora, photographed over the four seasons of a year, in seed, bloom, demise and finally dormant in the snow. It amounts to a study of mortality, the process of birth, growth and death. The book combines these works with self-portraits and family photographs through the same period, adding the perspective of the personal and quotidian life cycle.

Read more less

In a remote landscape near Bordeaux, Mona Kuhn owns a little house: simple, bare and even without electricity. Kuhn travels here each year to entertain family and friends as they drop by. Bordeaux Series contains portraits of these people dear to Kuhn made over the last four years, as well as landscape photographs. Kuhn photographs her subjects in the same room with a red fabric backdrop and a chair, so that the nudity of each sitter is the only indication of his or her idiosyncrasies. A sequel to Kuhn’s Native (2009), Bordeaux Series is a sensual exploration of the contemporary nude.

Read more less

“I am an object maker.” Jim Dine Night Fields, Day Fields is a survey of Jim Dine’s sculpture from 1959 to 2009. Dine is commonly seen as a prolific painter, printmaker and photographer whose central practice is drawing, but this book shows that sculpture is just as important in his oeuvre. Here we discover Dine’s favourite and reoccurring motifs: hearts, tools, skulls, and Pinocchio, as well as Classical sculpture in the form of Venus de Milo and Winged Victory. Dine’s media are as diverse as his themes and include bronze, wood, glass and found objects. His styles are similarly manifold, testament to an artist who has shrugged off the trappings of Pop Art to develop an eclectic body of styles that is unique and authoritative in contemporary art. Born in 1935 in Cincinnati, Ohio, Jim Dine completed a Bachelor of Fine Arts at the University of Ohio in 1957, and has since become one of the most profound and prolific contemporary artists. Dine’s unparalleled career spans fifty years and his work is held in numerous private and public collections. His books at Steidl include Birds (2001), The Photographs, so far (2003), and Hot Dream (52 Books) (2008).

Read more less

On the Mines is a re-designed and expanded version of David Goldblatt’s influential book of 1973. Goldblatt grew up in the South African town of Randfontein, which was shaped by the social culture and financial success of the gold mines surrounding it. When these mines started to fail in the mid-sixties Goldblatt began taking photos of them, which form the basis of On the Mines. The book features an essay on the human and political dimensions of mining in South Africa by Nobel laureate Nadine Gordimer, whose writing has long influenced Goldblatt. The new version of the book maintains the original three chapters “The Witwatersrand: a Time and Tailings”, “Shaftsinking” and “Mining Men”, but is otherwise completely updated, in Goldblatt’s words, “to expand the view but not to alter the sense of things”. There are thirty-one new mostly unpublished photos including colour images, eleven deleted images, a postscript by Gordimer to her essay, as well as a text by Goldblatt reflecting on his childhood and the 1973 book. On the Mines is the first of many titles in an ambitious collaboration between the photographer and Steidl that will publish Goldblatt’s life work in a series of re-prints and new books. David Goldblatt is a definitive photographer of his generation, esteemed for his dispassionate depiction of life in South Africa over a period of more than fifty years. Born in Randfontein in 1930, Goldblatt worked in his father’s menswear business until 1963 when he took up photography full time. Goldblatt’s work concerns above all human values and is a unique document of life during and after apartheid. His photographs are held in major international collections, and his solo exhibitions include those at the Museum of Modern Art in New York in 1998, and the Fondation Henri Cartier- Bresson in Paris in 2011. In 1989 Goldblatt founded the Market Photo Workshop in Johannesburg to teach visual literacy and photography especially to those disadvantaged by apartheid.

Read more less

After On the Mines, The Transported of KwaNdebele is the second of David Goldblatt’s books re-designed and expanded by the artist for Steidl Publishers. Dating originally from 1989, it talks about the workers of an apartheid tribal homeland for blacks, KwaNdebele, which has no industry, very few opportunities for jobs, and is a long way from the nearest industrial- commercial activity of white-controlled Pretoria. Workers from KwaNdebele catch buses in the very early morning, some as early as 2:45 am, in order to be at their workplaces in Pretoria by 7:00. At the end of the day they repeat the journey in the other direction, to get home at between 8 and 10 pm. Goldblatt takes us on their bone-jarring journeys through the night, which is a metaphor for their arduous struggle toward freedom itself. In photographs devoid of sentimentality and artifice, the grim determination of these people to survive and overcome emerges in almost heroic terms. Brenda Goldblatt, filmmaker and writer, interviewed some of the bus-riding workers who endured not only these journeys but a civil war precipitated by the apartheid government’s attempt to foist a kind of independence on KwaNdebele; a condition which would have made the workers foreigners in the land of their birth, South Africa, and thus deprived them of their limited right to work there. Interviews with contemporary (2012) bus-riders fill out the account. Phillip van Niekerk, former editor of the Mail & Guardian, provides an essay on KwaNdebele, its place in the logic of ‘grand apartheid’ and its half-life in post-apartheid South Africa. David Goldblatt is a definitive photographer of his generation, esteemed for his dispassionate depiction of life in South Africa over a period of more than fifty years. Born in Randfontein in 1930, Goldblatt worked in his father’s menswear business until 1963 when he took up photography full time. Goldblatt’s work concerns above all human values and is a unique document of life during and after apartheid. His photographs are held in major international collections, and his solo exhibitions include those at the Museum of Modern Art in New York in 1998, and the Fondation Henri Cartier- Bresson in Paris in 2011. In 1989 Goldblatt founded the Market Photo Workshop in Johannesburg to teach visual literacy and photography especially to those disadvantaged by apartheid.

Read more less

The Erasure Trilogy explores the anguish caused by the loss of memory—by forgetting, amnesia or suppression—and the resulting human desire to preserve memory, all seen through the prism of the Israeli-Palestinian confl ict. Memory Trace, the fi rst book in the trilogy, depicts the ruins caused by the Arab-Israeli War of 1948: portraits of those traumatized by violence, devastated landscapes and fragments of buildings. This visual poem suggests the irreparable loss of a lingering past that augurs a painful and diffi cult future. Tracing the ironic consequences of David Ben-Gurion’s dream of settling the Negev and making the “desert bloom,” the aerial photographs in Sheikh’s Desert Bloom reveal the myriad actions that have displaced and erased the Bedouins who have lived in the desert for generations. Here we see the extreme transformation of the landscape through erosion, mining, military training camps, the demolition of villages and afforestation. Through Sheikh’s lens the desert becomes both an archive of violence and a record of human attempts to erase it. Independence | Nakba consists of sixty-six diptychs — one for each year since 1948 — pairing people from both sides of the Israeli-Palestinian confl ict, and of gradually increasing age. The double portraits query the relations between Israelis and Palestinians before the founding of the Israeli State (each image depicts either someone who lived in Palestine before the founding of the Israeli State, or someone whose ancestors did). Desert Bloom Notes, the essential companion reader to Desert Bloom, explores the historical and contemporary clues along the shifting surface of the desert, and what lies hidden, sealed within Sheikh’s aerial landscapes of the Negev.

Read more less

Balls and Bulldust explores life and work among the cattlemen of the Northern Territory in Australia. This is not another cowboy story, but rather one about men and women working intensely hard while seeking some kind of solitude and sense of space in the midst of harsh conditions. For some, life in Australia’s outback is a life-long routine. The young are attracted by its romanticism, but are often shattered by its hardships: days are blistering hot, nights are cold; people sleep on “swags” on the ground for weeks; the food is drab; red dust is ever-present; and the men are bound to saddles twelve hours a day, mustering herds of cattle, branding and castrating young bulls. Ludwigson spent three months with these fearless cattlemen early in his career, and returned to his native Sweden with a comprehensive body of work that in time became Balls and Bulldust.

Read more less