Hollands Deep
Corbijn, Anton / Kaiser, Franz
Publisher/Verlag: Schirmer/Mosel | Photographien. Eine Retrospektive. Katalog zur Ausstellung im Gemeentemuseum Den Haag, 2015. Dtsch.-Engl. | Seit über vier Jahrzehnten macht der holländische Photograph und Filmemacher Anton Corbijn (geb. 1955) Portraits von Künstlern jeder Gattung und Profession. Er hat preisgekrönte und vielbeachtete Spielfilme (Control mit Sam Riley, 2007; The American mit George Clooney, 2010; A Most Wanted Man mit Philip Seymour Hoffman, 2014; zur Zeit in Arbeit ist LIFE über Dennis Stock und James Dean) und an die 100 Musikvideos gedreht, ist in der breiten Öffentlichkeit jedoch vor allem für seine innovativen, sehr persönlichen Aufnahmen von Menschen bekannt, die auf die eine oder andere Art die Kultur unserer Zeit mitgeprägt haben: etwa Nelson Mandela, Robert de Niro, Gerhard Richter, David Bowie, William Burroughs, Lucian Freud, Clint Eastwood, Kate Moss, Miles Davis, Allan Ginsberg, Bruce Springsteen, Ai Weiwei, Patti Smith Seine Zusammenarbeit mit Musikern wie Depeche Mode, U2 und Tom Waits erstreckt sich über mehrere Jahrzehnte - eine rare Ausnahme in dieser Szene. Bei Schirmer/Mosel hat Corbijn 15 Bücher zu seinem photographischen und filmischen Werk veröffentlicht, vom bahnbrechenden Erstlingsband Famouz und dem All-Time-Bestseller Star Trak bis zum Langzeitportrait Waits/Corbijn und dem jüngst erschienenen Band Looking at A Most Wanted Man. | Format: Paperback | Language/Sprache: german/deutsch | 1935 gr | 350x277x25 mm | 240 pp.
Viviane Sassen: Umbra
- Hardcover: 196 pages
- Publisher: Prestel (Oct. 25 2015)
- Language: English
- ISBN-10: 3791381601
- ISBN-13: 978-3791381602
Outland
Roger Ballen
Neuware - Roger Ballen (b.1950) has lived and worked in Johannesburg, South Africa for more than 30 years. Born in New York, he worked as a geologist and mining consultant before starting his photographic career by documenting the small villages of rural South Africa and their isolated inhabitants. Outland, winner of Best Photography Book of the Year at Photo España in Madrid, Spain, was first published by Phaidon in 2001, followed by critically acclaimed Shadow Chamber and Boarding House (Phaidon, 2005 and 2008). Ballen is represented by Gagosian Gallery. The seminal photobook from photographer and artist Roger Ballen, first published in 2001 and now available in an expanded edition with more than 25 never-before-seen images. His black-and-white photographs of South Africans on the fringe of society are powerful psychological studies: disturbing, exciting and impossible to forget. Powerful photographs of South Africans on the fringe of society 'Compelling, powerful, haunting.' Guardian 156 pp. Englisch.
Nicholas Nixon: The Brown Sisters: Forty Years
In August 1974, the photographer Nicholas Nixon made a group portrait of his wife, Bebe, and her three sisters, Heather, Mimi and Laurie--the Brown sisters. He did not keep that image, but in 1975 he made another portrait of the four, who then ranged in age from 15 to 25. Working with an 8 x 10-inch view camera, whose large negatives capture a wealth of detail and a luscious continuity of tone, Nixon did the same in 1976, and this second successful photograph prompted him to suggest to the sisters that they assemble for a portrait every year. The women agreed and have gathered for an annual portrait ever since. Nicholas Nixon: 40 Years of the Brown Sisters celebrates the 40th anniversary of the series with luminous tritone reproductions of all 40 portraits and a new afterword by Sarah Hermanson Meister, which examines the series" public exhibitions, critical reception, and cult following. Like the previous editions of the series, published in 1999 and 2008 for its 25th and 33rd anniversaries (both out of print), Nicholas Nixon: 40 Years of the Brown Sisters is a milestone in an ongoing project that we hope will continue for many years to come. ISBN: 0870709534
Mario Testino: In Your Face
Snapping fabulous: Experience a world of glamour through Testino’s lens  Mario Testino’s boundless talent with a camera must be maddening for other photographers working in a highly competitive field, but he remains one of the most revered stars in his profession. Often imitated and never equaled, Testino is graced with a natural ability to float effortlessly from studio to backstage to after-party, producing stunning shots in any kind of situation. From royals to mega-celebrities, Testino has shot some of the world’s most inaccessible subjects, always with an ease that betrays the complexity of the task. When Testino gets “in your face†he captures you at your best—and that is what makes him the best. This unorthodox collection of various images chosen by Testino from the span of his 30-year career reflects the diversity of his work, ranging from fashion and advertising shots to sexually-charged images and autobiographical photos. Full of color, life, and humor, this selection is a testament to the sheer brilliance of a tireless chronicler of fabulousness.  Text in English, French, German, Spanish, and Portuguese ISBN: 3836557975
Kin
Pieter Hugo
Synopsis: Pieter Hugo has garnered critical acclaim for his series of portraits and landscapes, each of which explore a facet of his native South Africa and neighboring African countries, including the film sets of Nigerias Nollywood; and toxic garbage dumps in Ghana; and sites of mass executions in Rwanda, as well as albinos, the Hyena Men of Nigeria, honey collectors, and garbage scavengers. Kin , a collection of images shot within a few miles of Hugos home over the past decade, focuses instead on the photgraphers family, his community, and himself. Writer John Mahoney characterizes it as the artists first major work to focus exclusively on his personal experience in his native South Africa, a place defined by centuries of political, cultural, and racial tensions and contradictions. Hugo describes his series as an engagement with the failure of the South African colonial experiment and my sense of being colonial driftwood. South Africa is such a fractured, schizophrenic, wounded, and problematic place . . . How does one take responsibility for history, and to what extent should one try? How do you raise a family in such a conflicted society? This work attempts to address these questions and reflect on the nature of conflicting personal and collective narratives.
4 Real & True 2!
Wim Wenders
Film-maker Wim Wenders has spent decades photographing dusty roads and lonely landscapes. A new exhibition at the Museum Kunstpalast in Dusseldorf brings together 80 large-scale images, each capturing a unique moment.
Neuware - Wim Wenders (geb. 1945) ist hauptsächlich durch seine Filme bekannt geworden, wie Paris, Texas, Der Himmel über Berlin und Pina, doch der Filmemacher bekennt: 'Die photographische Arbeit ist die andere Hälfte meines Lebens. Zu seinem 70. Geburtstag am 14. August 2015 richtet das Museum Kunstpalast in Düsseldorf dem Künstler eine Retrospektive mit großformatigen Photographien und Landschaftspanoramen aus. 'Wenn man viel unterwegs ist, schreibt Wenders, 'wenn man gern umherstreift, um sich zu verlieren, kann man an den merkwürdigsten Orten landen. Es muss wohl eine Art eingebauter Radar sein, der mich oft in Gegenden führt, die entweder sonderbar ruhig oder auf eine ruhige Art sonderbar sind. Anders als beim Filmemachen verzichtet der Photograph Wenders auf modernste technische Hilfsmittel. Er bevorzugt das analoge Photographieren, ohne Kunstlicht und Stativ. Der Katalog zur Ausstellung enthält neben Aufnahmen der letzten Jahre - u.a. aus der Umgebung von Fukushima nach dem Gau - Bilder aus den Serien Written in the West, Buena Vista Social Club, Einmal / Once, Bilder von der Oberfläche der Erde und Journey to Onomichi. 336 pp. Deutsch.
4 REAL & TRUE 2
WIM WENDERS
Landscapes. Photographs.
Exhibition: 18 April – 16 August 2015
Opening: 17 April, 7pm
WIM WENDERS
Landscapes. Photographs.
Exhibition: 18 April – 16 August 2015
Opening: 17 April, 7pm
If you travel a lot, writes Wim Wenders, if you like roaming about in order to lose yourself, you can end up in the strangest places. I think it must be a kind of built-in radar, which often takes me to places that are either peculiarly quiet or peculiar in a quiet sort of way.
Wim Wenders (born in Düsseldorf in 1945) is internationally renowned primarily for his movies, such as "Wings of Desire", "Pina" and "The Salt of the Earth", a portrait of the Brazilian photographer Sebastião Salgado. But the filmmaker acknowledges: Photographic work is the other half of my life. For decades he has created a photographic oeuvre quite independent of his filmic work: photographs of lonely, at times somewhat bizarre places and landscapes, of settings that have their own story.
On the occasion of the artist’s 70th birthday in 2015, Museum Kunstpalast in collaboration with Wenders Images and the Wim Wenders Foundation is presenting a selection of about 80 large-scale photographs, which invariably are analogue creations, made without artificial lighting or tripod. The exhibits range from artist’s early black-and-white photographs and monumental landscape panorama pictures through to his rarely shown photographs of “Ground Zero” and new works that were made only last year.
Wenders regards his photographic work, in the truest sense of the word, as an interaction of light (phos) and painting (graphein), offering the scope for capturing a unique moment in time.
Wenders started with black-and-white photographs, and later switched to colour photography. In doing so, his interest in photography blended with his passion for painting. Wenders, who initially applied to study at the Academy of Art Düsseldorf without success and in 1967 finally started to study at the then newly-founded College for Television and Film in Munich, discovered the significance of colours for his work: He began to initially "see" a picture for its colours and to define the image section according to the colours.
What I firmly wanted to be, was a painter.
And when pictures really impressed and influenced me,
they were by Vermeer and Rembrandt,
Dutch landscape painters,
later, Klee and Kandinsky and Beckmann,
later still, Edward Hopper and others.
As the filmmaker, which is what I became after some detours,
and also as photographer,
I owe infinitely more to the history of painting
than to the history of film or photography.
Perhaps this is why I want to achieve something with my pictures
that is actually rooted in painting.(From: Wim Wenders, A Sense of Place. Texte und Interviews (texts and interviews), ed. by Daniel Bickermann, Frankfurt am Main 2005, p. 88)
"Look at this, this exists, I have seen it, I want to show it to you": This is the attitude, it seems, with which the photographer Wim Wenders returns from his ramblings through the world and the cities, seeking to show us places that might be carrying a waft of an often quiet melancholy mood, similar to what is perceivable in his films. In contrast to those, however, in his pictures he refrains from telling any stories whatsoever. Wenders’ photographs are distinctly different from the stills taken from his films: The mostly quiet shots usually devoid of people offer a potential, seducing us to conjure up our own stories. (Beat Wismer, General Director Museum Kunstpalast)
On many of his photographic works Wenders has written texts, whose rhythms are reminiscent of poems. In these texts he captures his personal impressions, observations and thoughts.
"one can […] use a camera
like a recording device,
which not necessarily only records sounds,
but records what the place has to say.
In the photograph he tells his story,
being both actual history and fiction."
(From: Wim Wenders, A Sense of Place. Texte und Interviews (texts and interviews), ed. by Daniel Bickermann, Frankfurt am Main 2005, p. 36)
A farm house in a swaying cornfield, a rusty Ferris wheel on an empty field in Armenia, an abandoned open-air cinema in Palermo, a derelict house in the former Jewish quarter of Berlin – Wenders’ photographs rarely show people and yet bear testimony to humanity.
Wim Wenders (born in Düsseldorf in 1945) is internationally renowned primarily for his movies, such as "Wings of Desire", "Pina" and "The Salt of the Earth", a portrait of the Brazilian photographer Sebastião Salgado. But the filmmaker acknowledges: Photographic work is the other half of my life. For decades he has created a photographic oeuvre quite independent of his filmic work: photographs of lonely, at times somewhat bizarre places and landscapes, of settings that have their own story.
On the occasion of the artist’s 70th birthday in 2015, Museum Kunstpalast in collaboration with Wenders Images and the Wim Wenders Foundation is presenting a selection of about 80 large-scale photographs, which invariably are analogue creations, made without artificial lighting or tripod. The exhibits range from artist’s early black-and-white photographs and monumental landscape panorama pictures through to his rarely shown photographs of “Ground Zero” and new works that were made only last year.
Wenders regards his photographic work, in the truest sense of the word, as an interaction of light (phos) and painting (graphein), offering the scope for capturing a unique moment in time.
Wenders started with black-and-white photographs, and later switched to colour photography. In doing so, his interest in photography blended with his passion for painting. Wenders, who initially applied to study at the Academy of Art Düsseldorf without success and in 1967 finally started to study at the then newly-founded College for Television and Film in Munich, discovered the significance of colours for his work: He began to initially "see" a picture for its colours and to define the image section according to the colours.
What I firmly wanted to be, was a painter.
And when pictures really impressed and influenced me,
they were by Vermeer and Rembrandt,
Dutch landscape painters,
later, Klee and Kandinsky and Beckmann,
later still, Edward Hopper and others.
As the filmmaker, which is what I became after some detours,
and also as photographer,
I owe infinitely more to the history of painting
than to the history of film or photography.
Perhaps this is why I want to achieve something with my pictures
that is actually rooted in painting.(From: Wim Wenders, A Sense of Place. Texte und Interviews (texts and interviews), ed. by Daniel Bickermann, Frankfurt am Main 2005, p. 88)
"Look at this, this exists, I have seen it, I want to show it to you": This is the attitude, it seems, with which the photographer Wim Wenders returns from his ramblings through the world and the cities, seeking to show us places that might be carrying a waft of an often quiet melancholy mood, similar to what is perceivable in his films. In contrast to those, however, in his pictures he refrains from telling any stories whatsoever. Wenders’ photographs are distinctly different from the stills taken from his films: The mostly quiet shots usually devoid of people offer a potential, seducing us to conjure up our own stories. (Beat Wismer, General Director Museum Kunstpalast)
On many of his photographic works Wenders has written texts, whose rhythms are reminiscent of poems. In these texts he captures his personal impressions, observations and thoughts.
"one can […] use a camera
like a recording device,
which not necessarily only records sounds,
but records what the place has to say.
In the photograph he tells his story,
being both actual history and fiction."
(From: Wim Wenders, A Sense of Place. Texte und Interviews (texts and interviews), ed. by Daniel Bickermann, Frankfurt am Main 2005, p. 36)
A farm house in a swaying cornfield, a rusty Ferris wheel on an empty field in Armenia, an abandoned open-air cinema in Palermo, a derelict house in the former Jewish quarter of Berlin – Wenders’ photographs rarely show people and yet bear testimony to humanity.
Dog on the Road to Ayers Rock #2, Uluru, 1977
Africa Junctions. Capturing the City.,
Buurman, Lard, Chris [Mitarb.] Abani and Elvira Keulemans Chris Opper Alexander Dyangani Ose:
215 Seiten, überwiegend Abbildungen. Illustrierter Hardcoverband in neuwertigem Zustand. - In afrikanischen Städten spielt sich das Leben auf der Straße ab, wo Privatsphäre und Öffentlichkeit ineinander übergehen. Ein Gehweg wird unmerklich zur Familienküche oder verwandelt sich plötzlich in einen Laden. Das Verkehrschaos und lange Staus stellen für viele ein lästiges Hindernis dar, andere finden darin Arbeit und lukrative Verdienste. Die Metropolen in Afrika zeichnen sich durch informelle Strukturen und die Kunst zur Improvisation aus; die koloniale Vergangenheit hat ihre Spuren hinterlassen, die sich bis heute in sozialer Ungleichheit und schlechter Regierungsführung fortsetzen. Lard Buurman (*1969 in Zeist) fängt in seinen Fotografien die afrikanische Stadt als einen Ort permanenter Veränderung und unablässiger Begegnung ein. Das einzelne Bild setzt sich aus mehreren Momentaufnahmen zu einer typischen Szenerie zusammen, sodass der urbane Raum für den Betrachter lebendig wird. (Verlagsanzeige) Sprache: en Gewicht in Gramm: 1450 Gebundene Ausgabe. Englische Ausgabe.
Synopsis:
The photographs of Lard Buurman (born 1969) capture the African city as a site of permanent change and incessant encounter. The images are the result of combining several snapshots in time into a single scene, enabling the viewer to take in a vast spread of urban space.
Rotterdam in the Picture
175 years of photography of Rotterdam
Auteur: Frits Gierstberg, Joop de Jong Uitgever: Kannibaal ISBN: 978-94-9208-117-9
Bold, cheeky, dynamic, modern: Rotterdam ain’t afraid of no one. Again and again this city has been turned upside down, in a continuous process of demolition, (re)construction and expansion. Always forward! With the enormous port acting as a driving force for its economy and social life, Rotterdam holds a unique position within the Netherlands. High-rise architecture, space, water and wind determine the character of this multicultural, international city that longs to be a metropolis.
The unique photographs, including work by Andór von Barsy, Marrie Bot, Kim Bouvy, Georg Hendrik Breitner, Wally Elenbaas, Carel van Hees, Peter Martens, Carl Emil Mögle, Kees Molkenboer, Cas Oorthuys, Pieter Oosterhuis, Bas Princen, Frits J. Rotgans and Paul Schuitema, make Rotterdam in the Picture a book that every died-in-the-wool Rotterdam lover will want to have.
Compiled by Frits Gierstberg and Joop de Jong with a foreword by Wilfried de Jong.
The unique photographs, including work by Andór von Barsy, Marrie Bot, Kim Bouvy, Georg Hendrik Breitner, Wally Elenbaas, Carel van Hees, Peter Martens, Carl Emil Mögle, Kees Molkenboer, Cas Oorthuys, Pieter Oosterhuis, Bas Princen, Frits J. Rotgans and Paul Schuitema, make Rotterdam in the Picture a book that every died-in-the-wool Rotterdam lover will want to have.
Compiled by Frits Gierstberg and Joop de Jong with a foreword by Wilfried de Jong.
The Chinese Photobook
Parr, Martin / Wassink, Lundgren ISBN 10: 1597112283 / ISBN 13: 9781597112284
Publisher/Verlag: Thames & Hudson | From the 1900s to the Present | In the last decade there has been a major reappraisal of the role and status of the photobook within the history of photography. Newly revised histories of photography as recorded via the photobook have added enormously to our understanding of the mediums culture, particularly in places that are often marginalized, such as Latin America and Africa. However, until now, only a handful of Chinese books have made it onto historians short lists. Yet China has a fascinating history of photobook publishing, and The Chinese Photobook will reveal for the first time the richness and diversity of this heritage. This deluxe, lavishly produced volume is based on a collection compiled by Martin Parr and Beijing- and London-based Dutch photographer team WassinkLundgren. And while the collection was inspired initially by Parrs interest in propaganda books and in finding key works of socialist realist photography from the early days of the Communist Party and the Cultural Revolution era, the selection of books includes key volumes published as early as 1900, as well as contemporary volumes by emerging Chinese photographers. | Format: Hardback | Language/Sprache: english | 448 pp.
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