Bøger udgivet af Steidl

Much of Qatar appears to be desert stretching in all directions, a seemingly lifeless landscape of low, barren sand plains and rolling dunes. Yet within this desolateness are signs of life and things of beauty which Al-Thani--who has perhaps examined the Qatari landscape more closely than any other photographer--reveals for the first time to an international audience. The photos in Here Is My Secret were taken in 2008 and 2009, when Al-Thani traversed Qatar, his only companions a Toyota four-wheel drive and his Leica camera. Eschewing human change on the landscape, Here Is My Secret is a poetic contemplation on nature and an illustration of the larger cultural transformation that Qatar is currently undergoing.

In 1959 John Cohen travelled to East Kentucky looking for what he calls old music. Cohen asked for names at local gas stations but soon ran out of leads, and drove off the highway onto the next dirt road. Here he stumbled across Roscoe Holcomb playing the banjo and singing on his front porch in a way says Cohen, "that made the hairs on my neck stand up on end." And so by pure chance began the lifelong friendship that is the background for The High and Lonesome Sound. Cohen visited Holcomb frequently over the next three decades, and made many photographs, films and records of his music. In time Holcomb, a poor coal miner by trade, became a regular feature on the American concert and festival circuits. The strange beauty and discomfort of his music--a mixture of blues, ballads and Baptist hymns, and unique through his high strained voice--was exposed to a larger audience. Nevertheless, Holcomb died alone in a nursing home in 1981. The High and Lonesome Sound combines Cohen's vintage photos, film and musical recordings as well as an anecdotal text into a multimedia tribute to this underappreciated legend of American music whose every performance was, in Cohen's words, "not just a rendition of music, but a test of something to be overcome."

The Walther Collection is a private international art collection dedicated to collecting and exhibiting contemporary photography with special emphasis on the works of African and Asian artists. It is a dynamic collection, constantly growing and driven by four core activities: collecting, curating, exhibiting and publishing. Each activity is designed to present the works of the artists and to engage them in dialogue with the general public and the specialized field of contemporary art. The Walther Collection encompasses more than 700 works of widely known as well as emerging African and Asian artists, which makes it one of the most comprehensive collections of African photography worldwide. These extensive holdings are contextualized and complemented by historically significant contributions to the art of photography mainly from Germany and the United States, which expand the understanding, conception and history of the medium. The exhibitions and their curators at The Walther Collection will change once a year. Each year, based on a different curatorial emphasis, the collection will be examined and new constellations of the holdings and the new acquisitions will be presented. The Walther Collection will present in the inaugural exhibition a series of four projects in the nine galleries of its three buildings under the curatorial direction of Okwui Enwezor. It will integrate the work of three generations of African artists and photographers and a selection of the work of classical German photographers: Seydou Keïta (Mali), Malick Sidibé (Mali), J.D. 'Okhai Ojeikere (Nigeria), Rotimi Fani-Kayode (Nigeria), Santu Mofokeng (South Africa), as well as August Sander and Bernd and Hilla Becher (Germany). The exhibition series will center on issues of portraiture, identity, body, sexuality and performance. In total 230 works of 31 artists from 13 nations, among them South Africa, Nigeria, Kenya, Ethiopia, Mali, Benin, Cameroon and Senegal, are presented. This comprehensive catalogue contains full-page reproductions of all works on display. It includes contributions by Okwui Enwezor, Virginia Heckert, Kobena Mercer, Chika Okeke-Agulu, Gabriele Conrath-Scholl and Deborah Willis as well as a conversation between William Hartshorn and Artur Walther.

Over the past 20 years Christopher Morris has concentrated the greater part of his work on war correspondence, documenting more than 18 foreign conflicts, including the U.S. invasion of Panama, the Persian Gulf War, the drug war in Columbia, and the wars in Afghanistan, Chechnya and Yugoslavia. For the last four years he has been home, photographing the relative calm of the domestic side of George W. Bush's presidency, on assignment for Time. Morris describes this collection of his Bush-era work as his personal journey into a Republican America. "Hopefully," Morris says, "you will see what I saw and feel what I felt--a nation that has wrapped its eyes so tightly in red, white and blue that it has gone blind. This is My America." Morris, a founding member of the photojournalist agency VII, based in Paris, has received numerous awards for his work, including the Robert Capa Gold Medal, several World Press Photo awards, and the Infinity Photojournalist award from the International Center of Photography. This is his first monograph.

Martin Parr's collection of photobooks is one of the finest to have ever been assembled and The Protest Box is a boxset which brings together five books from that collection as facsimile reprints. Parr has selected diverse books which each deal with the subject of protest in quite different ways. From the documentation of various protest movements to the actual book being a form of protest, all these reprints are gems within the history of photographic publishing. A few are known but many are new, even to the connoisseur of photography books. All these books are virtually impossible to locate, so these reprints will make a substantial contribution to our understanding of this sub-genre of the photobook. The box set is accompanied by a booklet which includes an introduction by Martin Parr, an essay discussing the wider context of these books by Gerry Badger, and English translations of all the texts in the books. Enrique Bostelmann América: un Viaje a traves de la injusticaFirst published in 1970 by Siglo I Editores, Mexico City; Bostelmann, a Mexican photographer, journeyed through Latin America looking for examples of injustice, such as the exploitation of indigenous Indians who were forced into factories and menial jobs. Paolo Gasparini Para verte major, América LatinaFirst published in 1972 by Siglo I Editores, Mexico City; Gasparini, an Italian born photographer who has lived in Caracas most of his life, traversed Latin America to document the contrast between communism and capitalism. The book also documents and uses graffiti and graphics to emphasis his polemic. Dirk Alvermann AlgeriaFirst published in 1961 in Berlin, GDR; Alvermann, a photographer originally born in West Germany, published his book about both sides of the Algerian conflict in East Berlin. The radical design was inspired by Russian film stills. Kitai Kazuo SanrizukaFirst published in 1971 by Nora-Sha, Tokyo; a classic protest book which shows the huge popular uprising inspired by the proposed building of Narita airport. Paolo Mattioli and Anna Candiani Immagini del NoFirst published in 1974 by Occhio Magico No 11, Milan; this small format book documented various protests in Italy, from the Feminist Movement to Anti-Fascism marches.

"War is over; the heroic French population reaffirms superiority. Love, Paris, and Flowers ... but London was black, white, and gray, the elegance, the style, all present in front of always changing fog. Then I met a man from Wales talking about the Miners and I had read How Green Was My Valley. This became my only try to make a 'Story.'" --Robert FrankThis magnificent edition of London/Wales--a reprint of the 2007 Steidl edition that included never-before-seen photographs, expanding on Scalo's first edition of 2003--juxtaposes Frank's images of the elegant world of London money with the grimy working-class world of postwar Wales. It brings together two distinct bodies of work, and reveals a significant documentary precedent for The Americans. It also offers an important view of Frank's development, demonstrating an early interest in social commentary, in the narrative potential of photographic sequencing, and innovative use of the expressionistic qualities of the medium.

Located on the Kaipara harbor in New Zealand, 30 miles north of Auckland, Te Tuhirangi Contour is one of Richard Serra's latest site-specific works. The site is a vast open grass pasture with rolling elevations and curvilinear contours. The sculpture, made of hundreds of tons of steel, is located on one continuous contour, at a length of 843 feet. The particular contour was chosen for its location, differentiation, contraction and expansion in relation to the total volume of the landscape, and the elevation of the sculpture is perpendicular to the fall of the land, which generates its lean of 11 degrees. The work was first mocked-up full scale in wood to determine height and length. Serra's monumental sculpture is documented here in Dirk Reinartz's elegant black-and-white photography.

Paper is a delicate material, and has much to endure when it enters a bookbindery and is cut, folded, sewn, glued, knocked into shape, piled and packed. Koto Bolofo records this process at three branches of the Offizin Andersen Nexö bindery, in Leipzig, Zwenkau and Tunisia-each of which has a different approach to binding. Bolofo's photographs reveal the fascinating and fraught journey from paper to book.

The photographs of Angela Grauerholz (born 1952) are filled with people, glimpses of public and private interiors, and ethereal rural and urban landscapes. Their out-of-focus quality transforms them into a stream of consciousness--"a representation of our experience: a continuous prodding into something that escapes us continuously."

Susan Paulsen's theme in this book is her daily life--family, friends, her surroundings and the nude, in locations including Westchester, Block Island and Mabou. Yet as much as Paulsen's images explore her existence now--children playing Scrabble, freshly cut roses, frolicking dogs--they also concern memory and family history. Paulsen's color palette is quiet and her subjects sometimes subtly blurred, creating effects that hark back to her training as a painter. And just like much still-life painting, Sarah Rhymes with Clara is a revelation of the poetic in the seemingly banal. As William Meyers wrote of one of Paulsen's images in the Wall Street Journal, the picture is so casual, so free of gimmicks, it seems to have taken itself, which is precisely the hardest of artistic accomplishments. Susan Paulsen was born in Milwaukee in 1957, and now lives and works in New York. Paulsen holds a Bachelor of Arts from Ohio Wesleyan University. Her solo exhibitions include an acclaimed show at the Maison Européenne de la Photographie in Paris in 2004. Steidl has also published her Tomatoes on the Back Porch (2004).

This volume is a retrospective of Matthias Schaller's (born 1965) photography, presenting all his major bodies of work from the last 13 years, such as the series Studio Gursky (2000), documenting Andreas Gursky's Düsseldorf studio, and Die Mühle (2001-2), showing the studio-home of Bernd and Hilla Becher. Presenting thumbnail images of numerous series and a bibliography, this book is the perfect entry point to Schaller's oeuvre.

Everyone is equal before the law. And anyone who accepted David Bailey's recent invitation to his studio to be photographed in the nude became part of this astonishing book. Bailey laid down some strict rules: he shot all subjects in the same light and without props. Makeup and retouching were shunned. He took six photographs of each person, and selection and composition were his own affair. These rules, his imposed democracy, result in a celebration of the naked body in all its lovely (and not-so-lovely) splendor. Naked, Bailey specifies, not nude: "All that worrying about poncy lighting, making people look like landscapes or rocks. If I wanted to photograph a fucking rock, I'd photograph a fucking rock." And of the project's conception 30 years ago? "This is going to sound pretentious, but I was reading Plato's Republic and I thought, why not Bailey's Democracy? I wanted to do something organic. I didn't cast it, I didn't tell people where to sit or how to stand. They chose their own pose. I didn't worry about Rembrandt lighting or any crap like that. You could almost do it in a photo booth."

"Thanks to Carlo Collodi, the real creator of Pinocchio, I have for many years been able to live thru the wooden boy. His ability to hold the metaphor in limitless ways has made my drawings, paintings and sculpture of him richer by far. His poor burned feet, his misguided judgment, his vanity about his large nose, his temporary donkey ears all add up to the real sum of his parts. In the end it is his great heart that holds me. I have carried him on my back like landscape since I was six years old. Sixty-four years is a long time to get to know someone, yet his depth and secrets are endless. This book is for the Boy." Pinocchio has long been a significant motif in Jim Dine's work, and this book is his illustrated version of Collodi's original, dark story. Set far from a traditional fairy-tale world, containing as it does the hard realities of the need for food, shelter and other basic measures of daily life, its allegory, satire and wit are the perfect subject for Dine's graphic drawings.