Search results for ""Steidl Publishers""

The business run by the Teller family produces bridges and other small parts for stringed instruments. Juergen Teller has taken photographs of company employees, his uncle and his uncle's collection of hunting trophies. He has shot pictures in dripstone caves, of Kate Moss during her pregnancy, of himself. How does all of this fit together? His newest book provides extensive treatment of the terms "studio" or "workshop" as a place of creation and development. Juergen Teller collects people and places - scenes from his origins and the world of beautiful images - that have made him what he is today. In Zwei Schauferle mit Kloss und eine Kinderportion mit Pommes Frites, the fashion photographer shares his private reflections on his roots and his profession. Candid, subjective and completely without superficial effects, Mr. Teller gives us a peek into his world. How that all fits together is left up to the viewer of his photos.

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North Warning System is Donovan Wylie’s third and final book of photographs on the themes of vision and power in military architecture, and draws a close to his Tower Series. Surveying a radar station just inside the Canadian Arctic, Wylie examines the detection of invisible threats through unmanned observation posts in remote regions. The development of long-range bombers and missiles after the Second World War made Canada’s arctic frontier vulnerable to attack from the air. This forced Canada and the United States to jointly construct a matrix of short and longrange radar stations in the 1950s. Known as the Distant Early Warning Line, these stations provided electronic observation and surveillance capability across Canada’s northern frontier throughout the Cold War. In the 1990s, these stations were upgraded to form the North Warning System (NWS) which is increasingly active—as international maritime traffic develops throughout the north, so does military presence. In North Warning System, whiteness takes on the quality of a blank canvas, a metaphor for the sweep of history.

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Black Maps is the first in-depth survey of the major aerial projects by David Maisel, whose images of radically altered terrain have transformed the practice of contemporary landscape photography. In more than 100 photos that span Maisel’s career, Black Maps presents a hallucinatory worldview encompassing both stark documentary and tragic metaphor, and exploring the relationship between nature and humanity today. Maisel’s images of environmentally impacted sites consider the aesthetics of open pit mines, clear-cut forests, rampant urbanization and sprawl, and zones of water reclamation. These surreal and disquieting photos take us towards the margins of the unknown and as the Los Angeles Times has stated, “argue for an expanded definition of beauty, one that bypasses glamour to encompass the damaged, the transmuted, the decomposed.” David Maisel was born in New York in 1961. His photographs have been exhibited internationally, and are included in many permanent collections such as the Metropolitan Museum of Art in New York, the Los Angeles County Museum of Art, and the Victoria and Albert Museum in London. Maisel was a scholar in residence at the Getty Research Institute in 2007, an artist in residence at the Headlands Center for the Arts in 2008, and a recipient of an individual artist’s grant from the National Endowment for the Arts. He is a trustee of the Headlands Center for the Arts.

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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.

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“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).

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In 1997 I had what I refer to as my oil epiphany. It occurred to me that the vast, human-altered landscapes that I pursued and photographed for over twenty years were only made possible by the discovery of oil and the mechanical advantage of the internal combustion engine. It was then that I began the oil project. Over the next ten years I researched and photographed the largest oil fields I could find. I went on to make images of refineries, freeway interchanges, automobile plants and the scrap industry that results from the recycling of cars. Then I began to look at the culture of oil, the motor culture, where masses of people congregate around vehicles, with vehicle events as the main attraction. These images can be seen as notations by one artist contemplating the world as it is made possible through this vital energy resource and the cumulative effects of industrial evolution. Edward Burtynsky

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This is the new and revised edition of Arnold Odermatt’s acclaimed Off Duty, first published in 2010. Does any family not have family photos? Every other picture taken is a family photograph and most are glanced at quickly and just as quickly wiped from memory. In this sea of sameness, Arnold Odermatt’s family photos bear his signature style, standing out for their clarity and order and the detached demeanor of his subjects. Arnold Odermatt, police officer and photographer, achieved fame with his photographic journal of car accidents, Karambolage. His last book, On Duty, documented the small police corps with which he worked for many years, effectively advertising their skills and services. In this book, Off Duty, he shows life after the officer has parked his cruiser in the garage, turned off the scanner and hung his uniform in the closet. Showered and clad in fresh shirts and clean blouses, the photographer’s spouse, son and daughter wait in the living room or garden for their close-ups. Sometimes they wait patiently and at other times they are annoyed – not very different from the reactions of colleagues on duty, who also learned that a good photograph takes time. Odermatt created an impressive document of life within a small village, where the police officer offduty was not exactly private but civilian.

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