Lars Müller Publishers 2010/2011 Architecture Design Photography ...

Thomas flechtner
BLOOM
Design:
Integral Lars Müller
23 × 30 cm, 9 × 11 ¾ in, 128 pages
82 photographs, hardcover
2007, ISBN 978-3-03778-091-6
English
EUR 30.– GBP 30.–
USD / CAD 45.–
Thomas flechtner
SnOw
Design:
Integral Lars Müller
24 × 30 cm, 9 × 11 ¾ in, 120 pages
100 photographs, hardcover
2002, ISBN 978-3-907078-65-5
English
EUR 58.– GBP 25.–
USD / CAD 40.–
Pete Davis
In wILDwOOD
With a text by Conway
Lloyd Morgan
Design:
Integral Lars Müller
30 × 24 cm, 11 ¾ × 9 ½ in
96 pages, 72 photographs
hardcover
2008, ISBN 978-3-03778-142-5
English
EUR 40.– GBP 40.–
USD / CAD 50.–
With Bloom, Thomas Flechtner continues to go
his own way as an artist. In his internationally
acclaimed debut publication Snow, he took viewers
by surprise with a compelling visual metaphysics
of snow as the exploration of a psychological
state. After exhibitions in London, New
york, Bilbao, and Tokyo, Flechtner is now free to
pursue a new passion, the unbridled color and
movement of organic nature, which he examines
with lyrical lightness and tremendous precision
in these densely atmospheric studies of plants.
As a photographer, Flechtner goes in search of
the essence of nature, abandoning the ostensible
safety of distance and allowing proximity and
for the first time also movement.
In Thomas Flechtner’s photographs, snow
becomes a metaphor for timelessness, stillness,
peace, distance, and loneliness. Both civilization
and the untouched countryside succumb to
the gentle weight of this element. These images
make the viewer long for silence and transparency.
“Thomas flechtner is a nomad, wanderer
and walker, in fact, a loner. he captures pure
beautyon quasi-solipsistic quests for prey:
ice-crystals of photography, poems from
water and air.”
Neue Zürcher Zeitung
Forests, according to folklore, are places of
mystery and fear the haunts of fierce animals and
fiercer men. yet for our ancestors the forests
were sources of food and fuel, managed spaces.
In the forests of Wales and Vermont the photographer
Pete Davis has been exploring the
dichotomy in forest fact and fable for over a
decade, marking the changes worked by time,
weather and human intervention.
Klaus Merkel
ThE rEADIng Of
TIME In ThE TEXT
Of nATurE
Design:
Integral Lars Müller
24 × 30 cm, 9 × 11 ¾ in, 96 pages
84 photographs, hardcover
2000, ISBN 978-3-907044-97-1
English
1997, ISBN 978-3-907044-40-7
German
EUR 25.– GBP 25.–
USD / CAD 38.–
Klaus Merkel
ALBuM Of STOnES
Design:
Integral Lars Müller
24 × 30 cm, 9 × 11 ¾ in, 160 pages
110 photographs, hardcover
2005, ISBN 978-3-03778-058-9
English
2005, ISBN 978-3-03778-062-6
German
EUR 25.– GBP 23.–
USD / CAD 38.–
Luciano rigolini
whAT yOu SEE
Edited by the
fotostiftung Schweiz
With an essay by
Peter Pfrunder
Design:
Integral Lars Müller
12 × 16 cm, 4 ¾ × 6 ¼ in
160 pages, 107 photographs
hardcover
2008, ISBN 978-3-03778-139-5
German/English/French/Japanese
EUR 25.– GBP 20.–
USD / CAD 35.–
Klaus Merkel’s coupled photo graphs mirror the
physical and spiritual patterns of both natural
and architectural structures. They demonstrate
fundamental and uni versal formal laws in their
compelling revelation of inseparably intertwined
nature and culture. The pictures are grouped
according to such themes as Stratification,
The Crystalline, The Vegetative, and Outer World
and Inner World.
The photographer and artist Klaus Merkel
searches for — and record in striking black-andwhite
photographs — structures in nature and
architecture that, no matter where they are,
exhibit over lapping patterns and con figurations,
significant deviations and parallels, and resonate
in juxtaposition. In this extension of that program,
he has turned his attention to stones and rock
landscapes and their patterns. It is a process
that he insists takes patience, sometimes years,
both in allowing the force of the photograph to
make itself felt over time and in seeking the perfect
pair, the photograph that will reverberate
with another in tandem.
The photographer and artist Luciano Rigolini
demonstrates that anonymous snapshots,
freed from their context, can convey a visual
experience. Rigolini pieces together his findings
to create a new work – a grammar of seeing
and perception. Consciously or unconsciously,
we become primarily aware of form and structure
in the snapshots, and content of the images
becomes inessential. This results in a fascinating
aesthetic play that questions our habits of seeing.
In this arranged sequence the photographs
can no longer be read as simply likenesses
of reality.
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