s Fall / Winter 06 07 - Steidl
s Fall / Winter 06 07 - Steidl
s Fall / Winter 06 07 - Steidl
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s <strong>Fall</strong> /<strong>Winter</strong> <strong>06</strong> <strong>07</strong>
Contents<br />
4 How to contact us<br />
5 How to order<br />
5 Press enquiries<br />
STEIDL Photography International<br />
13 Karl Lagerfeld Room Service<br />
15 Carlo Collodi / Jim Dine Pinocchio<br />
17 Robert Frank Come Again<br />
19 Walker Evans: Lyric Documentary / John T. Hill (ed.)<br />
21 Robert Polidori After the Flood<br />
23 Sze Tsung Leong History Images<br />
25 David Bailey Havana<br />
27 Martin Munkacsi / F. C. Gundlach (ed.)<br />
29 Joel Sternfeld When it Changed<br />
31 Arnold Odermatt On Duty<br />
33 Marc Joseph New and Used<br />
35 Guido Mocafico Medusa<br />
37 Joel Grey Looking Hard at Unexamined Things<br />
39 Duane Michals Foto Follies<br />
41 Kai Wiedenhöfer Wall<br />
43 Klaus Staeck Pornografie<br />
45 Catherine Balet Identity<br />
47 Sean Scully Glorious Dust<br />
49 Roni Horn Doubt Box (Book IX of To Place)<br />
<strong>Steidl</strong> & Partners<br />
53 Henri Cartier-Bresson Scrap Book (Fondation HCB, Paris)<br />
55 Sam Taylor-Wood Still Lives (BALTIC, Gateshead, England)<br />
57 Werner Bischof WernerBischofPictures (Helmhaus, Zurich)<br />
59 A Letter from Japan: The Photographs of John Swope<br />
Carolyn Peter (ed.) (UCLA Grunwald Center /<br />
Hammer Museum, Los Angeles)<br />
61 Least Wanted: A Century of American Mugshots<br />
Steven Kasher and Mark Michaelson (ed.)<br />
(Steven Kasher Gallery, New York)<br />
63 László Moholy-Nagy: Color in Transparency<br />
Jeannine Fiedler, Hattula Moholy-Nagy (eds.)<br />
(Bauhaus-Archiv, Berlin)<br />
65 Philip Trager (Davison Art Center, Wesleyan University,<br />
Middletown / The Allen Memorial Art Museum, Oberlin, Ohio)<br />
67 Ken Ohara Extended Portrait Studies<br />
(Museum Folkwang, Essen)<br />
69 Facts Bodo von Dewitz (ed.) (Museum Ludwig, Cologne)<br />
71 Wolfgang Tillmans Freedom From The Known<br />
(MoMA / P.S.1, New York)<br />
73 Mitch Epstein Work (SK Stiftung Kultur, Cologne)<br />
75 Tacita Dean Analogue. Drawings 1991–20<strong>06</strong><br />
(Schaulager, Basel)<br />
77 Wendy Ewald Towards a Promised Land<br />
(Artangel, London)<br />
79 Diana Michener & Jim Dine 3 Poems<br />
(Bose Pacia Gallery, New Delhi)<br />
81 Frame #1 Yearbook of the DGPh<br />
(German Photographic Society, Cologne)<br />
83 Points of View,<br />
Masterpieces of Photography and their Stories<br />
Rudolf Kicken (ed.) (Kicken Gallery, Berlin)<br />
85 Roman Signer Travel Photos (Aargauer Kunsthaus, Aarau)<br />
87 Bettina von Zwehl (Photoworks, Brighton)<br />
89 Tim Bavington (Mark Moore Gallery, Santa Monica)<br />
91 Martin d’Orgeval Pâques (Palazzo Ruspoli, Rome)<br />
93 Magnum Photos M3<br />
Swedish Books at <strong>Steidl</strong><br />
99 Christer Strömholm In Memory of Himself<br />
101 Christer Strömholm Poste Restante<br />
103 Lars Tunbjörk I Love Borås<br />
105 JH Engström Haunts<br />
1<strong>07</strong> Håkan Ludwigson Taken out of Context<br />
109 Paul McCarthy Head Shop. Shop Head (Moderna Museet)<br />
111 Kasimir Malevich Black and White.<br />
Suprematist Composition (Moderna Museet)<br />
Edition 7L<br />
115 Ruben Toledo FASHIO-N-ATION<br />
117 Grace Coddington / Didier Malige The Catwalk Cats<br />
119 Jason Schmidt Artists<br />
121 Laurie Anderson Night Life<br />
123 Patrick Swirc DPRK<br />
125 Inez van Lamsweerde & Vinoodh Matadin<br />
Pretty Much Everything (Vol. 1)<br />
127 David Parker Sirens<br />
129 Beauty, Power, Vanity Bodo von Dewitz (ed.)<br />
<strong>Steidl</strong>Mack<br />
133 Collier Schorr Forest and Fields<br />
135 Adam Broomberg & Oliver Chanarin<br />
Chicago: Everything that happened, happened here first<br />
137 David Spero Churches<br />
139 Torbjørn Rødland White Planet, Black Heart<br />
141 John Warwicker The Floating World: Ukiyo-e<br />
steidldangin<br />
145 Tierney Gearon Daddy, where are you?<br />
ICP <strong>Steidl</strong><br />
149 Atta Kim<br />
151 Unknown Weegee<br />
153 ECOTOPIA: The Second ICP Triennial of Photography<br />
and Video<br />
steidl mm<br />
157 Tony Smith Not an Object, Not a Monument<br />
The Complete Large Scale Sculpture<br />
159 Charles Ray a four dimensional being writes poetry<br />
on a field of sculpture<br />
161 Ken Price Sculpture and Drawings<br />
163 Ellsworth Kelly<br />
165 Brice Marden Paintings on Marble<br />
<strong>Steidl</strong> u Eskildsen<br />
169 Timm Rautert Deutsche in Uniform<br />
171 Chris Killip Pirelli Work<br />
STEIDL Hauser & Wirth<br />
175 Roni Horn Rings of Lispector (Agua Viva)<br />
177 Andreas Hofer This Island Earth<br />
Backlist<br />
180 Complete Back Catalogue<br />
Distribution<br />
196 Germany, Austria and Switzerland<br />
197 USA and Canada<br />
198 <strong>Steidl</strong> France<br />
199 All other territories
4<br />
How to contact us<br />
Düstere Str. 4<br />
37<strong>07</strong>3 Göttingen<br />
Germany<br />
Tel.: +49 551 496 <strong>06</strong>0<br />
Fax: +49 551 496 <strong>06</strong>49<br />
mail@steidl.de<br />
www.steidl.de<br />
www.steidlville.com<br />
Edition 7L<br />
Caroline Lebar<br />
7, rue de Lille<br />
750<strong>07</strong> Paris<br />
France<br />
Tel.: +33 1 4450 2200<br />
Fax: +33 1 4450 2205<br />
caroline.lebar@lagerfeldgallery.fr<br />
Vale Studio<br />
62 Wood Vale<br />
London SE23 3ED<br />
United Kingdom<br />
Tel.: +44 20 8299 8847<br />
Fax: +44 20 8299 8827<br />
steidlmack@steidlville.com<br />
www.steidlmack.com<br />
HAUSER & WIRTH ZÜRICH<br />
Dr. Michaela Unterdörfer<br />
Limmatstrasse 270<br />
8031 Zürich<br />
Switzerland<br />
Tel.: +41 44 446 80 53<br />
Fax: +41 44 446 80 63<br />
michaela@hauserwirth.com<br />
www.hauserwirth.com<br />
ICP / <strong>Steidl</strong><br />
Karen Hansgen<br />
International Center of Photography<br />
1114 Ave. of the Americas<br />
New York, NY 10036<br />
USA<br />
Tel.: +1 212 857 0037<br />
Fax: +1 212 857 0090<br />
khansgen@icp.org<br />
www.icp.org<br />
Box ltd.<br />
412 West 14th Street<br />
New York, NY 10014<br />
USA<br />
Tel.: +1 212 965 9555<br />
Fax: +1 212 965 9487<br />
marion@steidldangin.com<br />
www.steidldangin.com<br />
Düstere Str. 4<br />
37<strong>07</strong>3 Göttingen<br />
Germany<br />
Tel.: +49 551 496 <strong>06</strong>0<br />
Fax: +49 551 496 <strong>06</strong>49<br />
mail@steidl.de<br />
Matthew Marks Gallery<br />
523 West 24th Street<br />
New York, NY 10011<br />
Tel.: +1 212 243 0200<br />
Fax: +1 212 243 0047<br />
books@matthewmarks.com<br />
www.matthewmarks.com<br />
How to order<br />
Germany, Austria<br />
and Switzerland<br />
<strong>Steidl</strong> Verlag<br />
Detlef Otten<br />
Düstere Str. 4<br />
D–37<strong>07</strong>3 Göttingen<br />
Tel.: +49 551 49 60 612<br />
Fax: +49 551 49 60 649<br />
dotten@steidl.de<br />
For detailed information on sales representatives<br />
please refer to page 196<br />
French Language Titles<br />
Inextenso<br />
Boîte 31<br />
22, rue du Faubourg-du-Temple<br />
F–75011 Paris<br />
Tél.: +33 (0)1 40 05 08 10<br />
Fax.: +33 (0)1 40 05 08 19<br />
contact@inextensodiffusion.com<br />
www.inextensodiffusion.com<br />
For detailed information on relevant titles and<br />
sales representatives please refer to page 198<br />
USA and Canada<br />
D.A.P.<br />
155 Sixth Avenue, 2nd Floor<br />
USA–New York, NY 10013–15<strong>07</strong><br />
Tel.: +1 212 627 1999<br />
Fax: +1 212 627 9484<br />
dap@dapinc.com<br />
For detailed information on sales representatives<br />
please refer to page 197<br />
All other territories<br />
Thames & Hudson Ltd.<br />
181a High Holborn<br />
GB–London WC1V 7QX<br />
Tel.: +44 20 7845 5000<br />
Fax: +44 20 7845 5055<br />
sales@thameshudson.co.uk<br />
For detailed information on sales representatives<br />
please refer to page 199<br />
Press enquiries<br />
Germany, Austria<br />
and Switzerland<br />
<strong>Steidl</strong> Verlag<br />
Claudia Glenewinkel<br />
Düstere Str. 4<br />
D–37<strong>07</strong>3 Göttingen<br />
Tel.: +49 551 49 60 650<br />
Fax: +49 551 49 60 644<br />
cglenewinkel@steidl.de<br />
USA and Canada<br />
D.A.P.<br />
Alexander Galan<br />
155 Sixth Avenue, 2nd Floor<br />
USA–New York, NY 10013–15<strong>07</strong><br />
Tel.: +1 212 627 1999 Ext. 211<br />
Fax: +1 212 627 9484<br />
agalan@dapinc.com<br />
France<br />
Patrick Remy<br />
22, Place Charles Fillion<br />
F–75017 Paris<br />
Tel: +33 1 4263 2167<br />
Fax: +33 1 4226 5518<br />
patremy2@wanadoo.fr<br />
All other territories<br />
<strong>Steidl</strong>Mack<br />
Willo Ohene<br />
Vale Studio<br />
62 Wood Vale<br />
GB–London SE23 3ED<br />
Tel: +44 20 8299 8847<br />
Fax: +44 20 8299 8827<br />
willo@steidlville.com<br />
www.steidlville.com<br />
5
SWEDEN AT STEIDL<br />
Not content with continuing to push the boundaries with an extraordinary<br />
array of diverse books produced by our publisher Gerhard <strong>Steidl</strong> and his<br />
team, our <strong>Fall</strong> <strong>Winter</strong> 20<strong>06</strong> / 20<strong>07</strong> catalogue marks yet another progression.<br />
Whilst our catalogues have already revolutionised the humble publisher’s<br />
sales catalogue, we are making every effort to make them books in their own<br />
right, a collectible snapshot of each prolific era. To this end we have decided<br />
to introduce a theme to each catalogue. It will range from a focus on books<br />
from a particular country or region, to a series of books by one particular<br />
artist, or books selected by a guest curator.<br />
We are pleased to welcome as our guests of honour this season a select<br />
band of collaborators from Sweden – Moderna Museet, Stockholm, the<br />
Hasselblad Center, Gothenburg, and Greger Ulf Nilsson of GUN.<br />
It is worth mentioning one book which is not touched on anywhere else in the<br />
pages of this catalogue but which figures large in <strong>Steidl</strong>ville this season –<br />
Günter Grass’ Peeling the Onion. Coming soon to a bookshop near you.<br />
This our ‘book of books’ also contains a complete back catalogue and more<br />
information on each of our books, including a selection of spreads, is available<br />
at www.steidlville.com.<br />
Michael Mack<br />
Managing Director, Illustrated Books
<strong>Steidl</strong> Book Launches <strong>Fall</strong> 20<strong>06</strong><br />
Berliner Ensemble, Bertolt-Brecht-Platz 1, Berlin<br />
Monday, September 4, 20<strong>06</strong><br />
Günter Grass: Peeling the Onion<br />
Moderna Museet, Stockholm<br />
Thursday, November 9, 20<strong>06</strong><br />
Swedish Books at <strong>Steidl</strong><br />
Paris Photo, Carrousel du Louvre, Paris<br />
Wednesday, November 15, 20<strong>06</strong><br />
Karl Lagerfeld: Room Service<br />
Colette 213, Rue St. Honoré, Paris<br />
Thursday, November 16, 20<strong>06</strong><br />
<strong>Steidl</strong> Artists’ Party<br />
New York<br />
Thursday, November 23, 20<strong>06</strong><br />
<strong>Steidl</strong> Artists’ Party
Paris, Spring 20<strong>06</strong>, a modern-day fairy tale…<br />
Karl Lagerfeld<br />
Room Service<br />
“I see this as pure fun, somewhat politically incorrect, but full of euphoria and laughter. That’s luxury, too, when it’s<br />
accepted without any complexes.” Karl Lagerfeld<br />
Right from the beginning, Karl Lagerfeld conceived Room Service as a multi-track matrix: a series of photos, a short film<br />
and an unusual version of the song “Diamonds Are a Girl’s Best Friend,“ all collected in the same book. It all started<br />
when Lagerfeld was commissioned to create a campaign for Dom Pérignon Rosé Vintage 1996. He conceived an<br />
elegant exercise in style with a story line in the form of an ultra-contemporary fairy tale recounting the irresistible<br />
attraction of two strangers: a man and a woman, two solitary, seductive hedonists in a world of luxury whose paths<br />
cross at one of Paris’s finest hotels. The woman is Eva Herzigova, and the man Brad Kroenig. “There’s a sort of equality<br />
between them that allows for all sorts of freedom,” says Lagerfeld. “Basically, this story tells how Dom Pérignon Rosé<br />
facilitates this kind of encounter.” Johan Renck’s film was shot at almost the same time, in the same hotel, the George<br />
V, and with the same models/actors, Eva Herzigova and Brad Kroenig. Says Lagerfeld: “Johan Renck is a music video<br />
genius. He liked the story and put it into action. He followed the script even more carefully than I could have done with<br />
still photos.” For the song, Lagerfeld chose singer/songwriter Devendra Banhart. “After Marilyn, who could have sung<br />
this song? A woman? I find Devendra’s low-high, ambiguous voice amazing and absolutely perfect. His version of<br />
‘Diamonds Are a Girl’s Best Friend’ is magnificent, unique and daring.”<br />
Karl Lagerfeld was born in 1938 in Hamburg. A fashion designer and perfume creator, he also began working as a<br />
photographer in 1987. He has received the Lucky Strike Design Award from the Raymond Loewy Foundation and the<br />
cultural prize from the German Photographic Society. <strong>Steidl</strong> has published most of Lagerfeld’s photography books,<br />
including Waterdance/Bodywave, Aktstrakt, A Portrait of Dorian Gray, 7 Fantasmes of a Woman and others.<br />
Johan Renck is one of today’s most respected and sought-after directors of commercials and music videos. He has<br />
worked with Kylie Minogue, New Order, Madonna, Robbie Williams and The Streets, among others. Renck is currently<br />
working on his first feature film, Downloading Nancy, with Holly Hunter and William Hurt.<br />
Devendra Banhart was born in 1981 and started writing songs at the age of 12. This singer and songwriter might be<br />
described as the eccentric prince of America’s neo-folk movement. Banhart has made five albums since 2002, all of<br />
them critical successes: Oh Me Oh My in 2002, The Black Babies in 2003, Rejoicing the Hands and Nino Rojo in<br />
2004, and Cripple Crow in 2005.<br />
Karl Lagerfeld<br />
Room Service<br />
Book design by Karl Lagerfeld and Gerhard <strong>Steidl</strong><br />
60 pages with 20 tritone and 43 color plates<br />
11.75 x 11.75 in. / 30 x 30 cm<br />
Clothbound hardcover with an acetate dust jacket,<br />
including a vinyl single and a DVD<br />
US $ 42.00 / £ 24.00 / R 34.00<br />
ISBN 3-86521-326-X<br />
ISBN-13 978-3-86521-326-6<br />
13
14<br />
Carlo Collodi / Jim Dine<br />
Pinocchio<br />
“Thanks to Carlo Collodi, the real creator of Pinocchio, I have for many years been able to live thru the wooden boy. His<br />
ability to hold the metaphor in limitless ways has made my drawings, paintings and sculpture of him richer by far. His<br />
poor burned feet, his misguided judgment, his vanity about his large nose, his temporary donkey ears all add up to the<br />
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<br />
was six years old. Sixty four years is a long time to get to know someone yet his depth and secrets are endless. This<br />
book is for the Boy.” Jim Dine<br />
Pinocchio has long been a significant motif in Jim Dine’s work and this book is his illustrated version of Collodi’s<br />
original, dark story. Set far from a traditional fairy-tale world, containing as it does the hard realities of the need for food,<br />
shelter and other basic measures of daily life, the allegory, satire and wit are the perfect subject for Dine’s graphic<br />
series of drawings.<br />
Jim Dine was born in Cincinnati, Ohio in 1935. His art has been the subject of numerous individual and group shows<br />
and is in the permanent collections of museums around the world. <strong>Steidl</strong> has previously published his books Birds, The<br />
Photographs, so far (vol. 1–4),This Goofy Life of Constant Mourning, Drawings of Jim Dine, Some Drawings, Entrada<br />
Drive. This season <strong>Steidl</strong> is also publishing 3 Poems by Jim Dine and Diana Michener.<br />
Carlo Collodi / Jim Dine<br />
Pinocchio<br />
Book design by Jim Dine, Gerhard <strong>Steidl</strong> and Claas Möller<br />
176 pages, full color printing<br />
9.5 x 12 in. / 23.5 x 30.5 cm<br />
Clothbound hardcover with dust jacket<br />
US $ 50.00 / £ 28.00 / R 40.00<br />
ISBN 3-86521-264-6<br />
ISBN-13 978-3-86521-264-1<br />
German edition (ISBN 3-86521-343-X) distributed by GVA<br />
15
16<br />
Robert Frank<br />
Come Again<br />
In November 1991 Robert Frank was invited to Beirut on a commission to photograph the devastated downtown of the<br />
city following the end of the Lebanese civil war (1975-1990). Together with the work of five other photographers, his<br />
work was included in a book, Beirut City Centre (1992). Alongside his work on the commission he made many<br />
Polaroids of the city which he stored in his studio on his return home. Many years later he reconsidered the images and<br />
decided to title the work Come Again, but he left the sketch book as he had originally made it in Beirut. Come Again is<br />
a facsimile reprint of that piece.<br />
In recent years Robert Frank has worked almost exclusively with Polaroids. Come Again offers insight into the early<br />
stages of the artist’s experimentation with this medium and presents a previously unseen artist’s book.<br />
© Raymond Depardon / Magnum Photos<br />
Robert Frank<br />
Come Again<br />
Robert Frank was born in Zurich, Switzerland in 1924 and went to<br />
the United States in 1947. He is best known for his seminal book<br />
The Americans, first published in 1958, which gave rise to a<br />
distinct new art form in the photo-book, and his experimental film<br />
Pull My Daisy, made in 1959. His other important projects include<br />
the book Black White and Things, 1954, the book The Lines of My<br />
Hand, 1959 and the film Cocksucker Blues, 1972. He divides his<br />
time between New York City and Nova Scotia, Canada.<br />
Book design by Robert Frank and Gerhard <strong>Steidl</strong><br />
48 pages, printed with special 4color matt inks<br />
and a Polaroid varnish<br />
8.5 x 11 in. / 21.5 x 28 cm<br />
Sewn softcover with a sleeved jacket<br />
US $ 25.00 / £ 14.50 / R 20.00<br />
ISBN 3-86521-261-1<br />
ISBN-13 978-3-86521-261-0<br />
17
18<br />
Walker Evans: Lyric Documentary<br />
Edited by John T. Hill<br />
Walker Evans’ work was spread over forty-six fitful and prolific years, yet in a scant two years, 1935-1936, he produced<br />
a singular body of work that defined his career. In the process he refined a hybrid style which combined documentation<br />
with sly personal comment. During that brief time he worked for the Farm Security Administration (previously the U.S.<br />
Resettlement Administration) photographing the consequences of the Great Depression. He delighted in being the<br />
artist traveling incognito as an artless photojournalist, but with the independence to satisfy his own designs.<br />
This volume presents those seminal images for the first time as a comprehensive body and in chronological order.<br />
These are prime examples of Evans’ alchemy – his seemingly effortless transformation of mundane fact into sweeping<br />
lyricism. This series not only defines his mature style but also offers a path for artists of future generations. Evans has<br />
been called the most important American artist of his century. The impact of his vision reaches well beyond the province<br />
of photography.<br />
John T. Hill was Evans’ colleague at Yale and executor of the Walker Evans Estate. In this text Hill explores a little-known<br />
lecture given by Evans at Yale University in 1964, which Evans called his aesthetic autobiography. He entitled the<br />
lecture “Lyric Documentary,” defining the title by a series of surprising and unpredictable examples, both visual and<br />
verbal. Hill also discusses Evans’ preference for books over exhibitions as a format for presenting his work. Evans was<br />
keenly interested in the printing technologies of his time, hunting for the optimum translation of his images into ink and<br />
paper. Using current digital technology, Hill and Sven Martson, one of Evans’ printers and friend, have pursued this<br />
same goal for the past four years.<br />
Exhibitions: Convento di San Michele, Cagliari, spring and summer, 20<strong>06</strong>; Museo Nazionale Alinari della Fotografia,<br />
Florence, <strong>Fall</strong> 20<strong>06</strong>; The UBS Art Gallery, Walker Evans: Silver and Carbon, New York, August 24 to November 9, 20<strong>06</strong><br />
Walker Evans: Lyric Documentary<br />
Edited by John T. Hill<br />
Essays by John T. Hill, Heinz Liesbrock and Alan Trachtenberg<br />
Book design by John T. Hill<br />
260 pages with 200 tritone plates<br />
9.25 x 9.5 in. / 23.7 x 24.4 cm<br />
Clothbound hardcover with dust jacket<br />
US $ 60.00 / £ 32.00 / R 48.00<br />
ISBN 3-86521-022-8<br />
ISBN-13 978-3-86521-022-7<br />
19
20<br />
Robert Polidori<br />
After the Flood<br />
In late September 2005, the photographer Robert Polidori travelled to New Orleans to record the destruction caused<br />
by Hurricane Katrina. Arriving at night he found few remaining inhabitants amongst the devastated ruins of the city. The<br />
next day he began photographing and entering the abandoned houses, many of which were still water-logged or<br />
carried the 8 ft tide-mark of the floods. Slowly he began to learn the system of graffiti signs and codes applied to the<br />
exterior of the buildings by the rescue forces. Each room he entered seemed to Polidori to be like a womb and he<br />
thought of his photographs as the work of a psychological voyeur, mapping the lives of the absent people through their<br />
abandoned belongings. The discovery of an abandoned body in one house reinforced his struggle with the problem of<br />
making beautiful images from human disaster. As with all his work, Polidori has succeeded in producing much more<br />
than a series of documentary images.<br />
Robert Polidori was born in Montréal in 1951 and lives in New York City. His work has been shown in Paris, Brasília,<br />
New York, Los Angeles and Minneapolis among other places. A staff photographer of The New Yorker, Polidori has<br />
received numerous honors, including a World Press Award for his coverage of the building of the Getty Museum and<br />
two Alfred Eisenstaedt Awards for his work in Havana and Brasilia. His bestselling books Havana, Zones of Exclusion<br />
– Pripyat and Chernobyl and Metropolis are published by <strong>Steidl</strong>.<br />
Robert Polidori<br />
After the Flood<br />
Book design by Robert Polidori and Gerhard <strong>Steidl</strong><br />
320 pages with 300 color plates<br />
15.25 x 11.75 in. / 38.6 x 30 cm<br />
Clothbound harcover with dust jacket<br />
US $ 90.00 / £ 50.00 / R 75.00<br />
ISBN 3-86521-277-8<br />
ISBN-13 978-3-86521-277-1<br />
French edition (Après le déluge, ISBN 3-86521-345-6)<br />
distributed by Inextenso<br />
21
22<br />
Sze Tsung Leong<br />
History Images<br />
Since 2002, Sze Tsung Leong has been photographing the dramatic urban changes that have transformed the cities of<br />
China – revealing a process that ranges from the destruction of traditional neighborhoods, which once formed the<br />
unique identities of China’s cities, to the mass construction of new urban environments. Photographed with a largeformat<br />
view camera in cities including Beijing, Shanghai, Chongqing, Nanjing, Pingyao, and Xiamen, these highly<br />
detailed images portray the immense scale of an urban upheaval overwhelming the minute scale of the individual. The<br />
dense concentration of visual information in the photographs reveals the contradictions created by an uncertain and<br />
fluctuating environment: traditional buildings in the process of being demolished are juxtaposed against the new urban<br />
reality about to replace them; seemingly abandoned buildings on the verge of destruction, or in the midst of<br />
construction, reveal clues of inhabitation; historic areas survive more as a result of neglect and isolation than intent; and<br />
obscured in the midst of expansive, culturally ambivalent spaces, small Chinese script on indistinct signs serves as the<br />
only hint that these environments are in China.<br />
Collectively, the photographs in History Images capture the erasure and subsequent absence of history, and the<br />
eventual creation of a new history anticipating a future yet to unfold; it is an urban reality caught in the tenuous period<br />
after the end of one history and at the beginning of another. While these photographs portray a specific period in the<br />
history of China, they also parallel and evoke the experience of cities throughout the world that have been affected by<br />
other forms of drastic upheaval: the extensive reconfiguration of Paris in the mid-nineteenth century by Georges-<br />
Eugène Haussmann to accommodate the new middle class; the wartime reduction to rubble of European cities; the<br />
listless spaces resulting from the postwar suburban attenuation of American cities.<br />
Sze Tsung Leong was born in Mexico City in 1970, and currently lives and works in New York. His work has been<br />
exhibited internationally, and is included in the permanent collections of the Museum of Modern Art in New York, the<br />
San Francisco Museum of Modern Art, the High Museum of Art in Atlanta, the International Center of Photography, and<br />
the Santa Barbara Museum of Art, among others. He is the recipient of a Guggenheim Fellowship and a grant from the<br />
New York State Council on the Arts. His work is represented by Yossi Milo Gallery in New York.<br />
Exhibition: High Museum of Art, Atlanta, July 15 – October 1, 20<strong>06</strong><br />
Sze Tsung Leong<br />
History Images<br />
Essays by Stephen Shore and Sze Tsung Leong<br />
Book design by Sze Tsung Leong<br />
144 pages with 80 color plates<br />
13.5 x 11 in. / 34.2 x 27.9 cm<br />
Clothbound hardcover with a tipped-in image<br />
US $ 90.00 / £ 50.00 / R 75.00<br />
ISBN 3-86521-274-3<br />
ISBN-13 978-3-86521-274-0<br />
23
24<br />
David Bailey<br />
Havana<br />
David Bailey<br />
Havana<br />
“My book Havana is just a superficial look, not a soul searching investigation, a quick impression of a place that is<br />
unique in it’s geographical position, being much closer to the United States of America than the space station. Both are<br />
places ordinary Americans cannot visit. To be one of the poorest nations on Earth, almost within spitting distance of the<br />
richest, makes the poverty of Cuba seem more extreme. Two countries with extreme ideologies; the small one proving<br />
that Communism does not work, the other proving that democratic paranoia does work if the power and the money are<br />
in place.” David Bailey<br />
Havana shows Bailey at the height of his powers, producing photographs that reflect his mastery of the full range of the<br />
distinct genres of the medium. From vibrant street reportage to seering portraiture, this book offers a quintessential<br />
view of a city which is the touchstone for one of the most distinct cultural and political divides in a world fast moving<br />
towards homogeneity.<br />
David Bailey, born in London in 1938, is one of the most successful photographers of his generation. By the 1960s his<br />
work, especially for Vogue, had already made him a cult figure. His numerous books include Trouble and Strife, Nudes,<br />
If We Shadows, The Lady Is a Tramp and David Bailey’s Rock ’n’ Roll Heroes. <strong>Steidl</strong> has published Birth of the Cool,<br />
Chasing Rainbows, Locations and Bailey’s Democracy.<br />
Exhibition: September 21 – October 13, 20<strong>06</strong>, Faggionato Fine Arts, London.<br />
Book design by David Bailey and Gerhard <strong>Steidl</strong><br />
176 pages, full color printing<br />
10.2 x 13 in. / 26 x 33 cm<br />
Embossed leatherbound hardcover with a tipped-in photo<br />
US $ 55.00 / £ 30.00 / R 45.00<br />
ISBN 3-86521-270-0<br />
ISBN-13 978-3-86521-270-2<br />
French edition (ISBN 3-86521-347-2) distributed by Inextenso<br />
25
26<br />
Martin Munkacsi<br />
Edited by F. C. Gundlach<br />
Martin Munkacsi was never at a loss for self-confidence and set great store by the fact that he was the best paid<br />
photographer of his time. Indisputably one of the most significant photographers of the 20th century, he shaped the<br />
beginnings of modern photojournalism and set into motion the previously static medium of photography. Munkacsi<br />
combined journalistic accuracy with a highly formal aesthetic standard. He was an outstanding representative of the<br />
“Neues Sehen,” arguably photography’s weightiest contribution to advanced art. His fashion photography was<br />
groundbreaking and his sports photography was unmatched.<br />
Munkacsi’s work did not remain intact. It was scattered throughout the world and, to some extent, lost. Only the Ullstein<br />
Archive in Berlin maintains a fairly extensive collection of his life’s work from his days in Hungary and Germany. In this<br />
volume Munkacsi’s images have been brought together in a previously unexplored presentation, combining pictures<br />
from all his artistic phases and several photographs and bodies of work that have not been seen since their initial<br />
magazine publication. Munkacsi’s work reveals a tense, technology-obsessed, glamorous and contradictory epoch.<br />
Martin Munkacsi, born in Koloszvár, Hungary in 1896, published his first sports photos in 1921 and in 1927 moved to<br />
Berlin, where he worked for Berliner Illustrirte Zeitung, Koralle, Uhu, Die Dame, Vu, Modern Photography and other<br />
international magazines. By the time he immigrated to the USA in 1934, he had revolutionized fashion photography. He<br />
worked under contract for Harper’s Bazaar, published works in Life to great acclaim and photographed the influential<br />
series “How Americans Live” for Ladies’ Home Journal. Munkacsi also worked as an advertising photographer and as<br />
a camera man for film productions. Largely forgotten, he died in New York in 1963.<br />
Exhibitions: ICP, New York, December 12, 20<strong>06</strong> – February 27, 20<strong>07</strong>; MoMA, San Francisco, May 12, 20<strong>06</strong> –<br />
October 16, 20<strong>07</strong>; Martin Gropius-Bau, Berlin, August 8, 20<strong>06</strong> – November 6, 20<strong>06</strong><br />
Martin Munkacsi<br />
Edited by F. C. Gundlach<br />
Texts and research by Klaus Honnef and Enno Kaufhold<br />
Book design by Claas Möller<br />
416 pages with 318 tritone plates<br />
9.5 x 11.5 in. / 24 x 29 cm<br />
Hardcover<br />
US $ 65.00 / £ 35.00 / R 48.00<br />
ISBN 3-86521-269-7<br />
ISBN-13 978-3-86521-269-6<br />
Distributed through D.A.P. in North America<br />
German edition (ISBN 3-86521-099-6) distributed by GVA<br />
English edition for rest of world published and distributed by<br />
Thames & Hudson<br />
27
28<br />
Joel Sternfeld<br />
When it Changed<br />
“Future generations are going to wonder about us, the inhabitants of the Earth when the climate began to change. If<br />
seas are rising and at the same time drinking water is scarce, they are going to want to know what scientific evidence<br />
was before us and what we did in response to it. It is difficult to imagine a time in the past without an image, so I went<br />
to Montreal in 2005 to photograph the participants in the eleventh United Nations conference on climate change.”<br />
Joel Sternfeld<br />
The resulting fifty-five color portraits of participants at the conference accompanied by their statements about the<br />
evidence of climate change in their home countries form the heart of this book. The mezzo busto close-ups fit within a<br />
tradition of portraiture that dates back to the Renaissance but the anxiety on their faces seems like something only<br />
modernity and the advent of ecological catastrophe could produce. A detailed, descriptive chronology of what has<br />
been termed “humanity’s greatest challenge” offers readers an efficient means to grasp the scientific and governmental<br />
response to climate change, as well as its natural consequences.<br />
By the title When it Changed Sternfeld may also be referring to a much more hopeful scenario. In September 2004 the<br />
Russian federation ratified the Kyoto Protocol, and the world’s first mechanism for combating carbon emissions went<br />
into effect. At the Montreal conference the United States, one of the few non-signatories to Kyoto, worked to undermine<br />
discussions about extending the Protocol and leading newspapers predicted the end of international effort to mitigate<br />
climate change. However, when the United States delegation walked out of a late night meeting, the nations of the<br />
world joined together and agreed to take a step forward without the US or any other country that refused to appreciate<br />
the gravity of the situation.<br />
In his testimony Mohammad Reazuddin, the delegate from Bangladesh says, “My voice may be small because I am from<br />
a small country. But those who will be washed away, their voices must be heard.” When it Changed represents a<br />
beginning of that process.<br />
A major figure in the world of photography, Joel Sternfeld was born in New York City in 1944. His recent books include<br />
Sweet Earth: Experimental Utopias in America, Walking the High Line and a reprint of his seminal 1987 publication,<br />
American Prospects. He is the recipient of numerous awards, including two Guggenheim fellowships, a Prix de Rome<br />
and the Citibank Photography Award.<br />
Joel Sternfeld<br />
When it Changed<br />
Essays by Jeremy Legett and Gretel Ehrlich<br />
Book design by Joel Sternfeld and Gerhard <strong>Steidl</strong><br />
112 pages full color printing<br />
11 x 8.5 in. / 28 x 22 cm<br />
Softcover<br />
US $ 35.00 / £ 20.00 / R 28.00<br />
ISBN 3-86521-278-6<br />
ISBN-13 978-3-86521-278-8<br />
29
30<br />
Arnold Odermatt<br />
On Duty<br />
Police officer and photographer Arnold Odermatt became famous in his retirement on the publication of Karambolage,<br />
his photographic journal about the traffic accidents that were part of his professional life in the Swiss canton of<br />
Nidwalden. The small police force in the Nidwalden communities was worried about who could take over its work<br />
because the village youth did not see themselves wearing uniforms and walking the beat. On Duty brings together the<br />
photographs which were Odermatt’s attempt to disabuse them of their misconceptions. He sent his colleagues to the<br />
barber shop and theatrically recreated the adventure in their daily routines. On Duty is a compelling sequence of<br />
colourful tableaux and an impressive document and insight to a hidden world.<br />
Arnold Odermatt, born in Oberdorf in the canton of Nidwalden in 1925, joined the police force in 1948 and retired as<br />
lieutenant director of traffic police and vice commander of the Nidwalden Police Department in 1990. His photographs<br />
were part of the 49th Biennale in Venice in 2001 and his one-man show was presented at the Art Institute of Chicago<br />
in 2002 and in the <strong>Winter</strong>thur photo museum in 2004. Karambolage was published by <strong>Steidl</strong>.<br />
Urs Odermatt, born in Stans / Switzerland, studied direction and screenwriting with Krzysztof Kieslowski and works as<br />
a film and theater director. Since 1993, he has been publishing his father’s work.<br />
Arnold Odermatt<br />
On Duty<br />
Edited by Urs Odermatt<br />
Book design by Claas Möller, Gerhard <strong>Steidl</strong> and Urs Odermatt<br />
336 pages, full color printing<br />
11 x 12.25 in. / 28 x 31.2 cm<br />
Clothbound hardcover with dust jacket<br />
US $ 80.00 / £ 45.00 / R 65.00<br />
ISBN 3-86521-271-9<br />
ISBN-13 978-3-86521-271-9<br />
German edition (Im Dienst, ISBN 3-86521-336-7) distributed<br />
by GVA<br />
French edition (En Service, ISBN 3-86521-337-5) distributed<br />
by Inextenso<br />
31
32<br />
Marc Joseph<br />
New and Used<br />
Growing up in the 1970s, photographer Marc Joseph’s first exposure to art, writing and music came through the<br />
eccentric smaller book and record shops of downtown Cleveland, Ohio. Most Saturday afternoons were spent<br />
combing through the stacks in anticipation of a major future purchase – like his first, “London Calling” by The Clash –<br />
or studying certain talismanic book covers like George Orwell’s “Animal Farm” or Allen Ginsberg’s “Howl”. This was the<br />
beginning of Joseph’s permanent fascination with books and records – both as public artworks and as formative private<br />
experiences. New and Used is a collection of richly detailed color photographs of hard-covers, paperbacks, LPs, CDs<br />
and cassettes, either shelved, piled, boxed and stacked in their increasingly endangered natural environments –<br />
independent book and record shops – or individually silhouetted like artifacts pinned into shadow-boxes. Together with<br />
editor Damon Krukowski, the artist has assembled a collection of short fiction, prose, poems and personal essays by<br />
writers and musicians including novelists Jonathan Lethem and Dennis Cooper, critic and curator Bob Nickas, poet<br />
Eileen Myles, Thurston Moore of Sonic Youth, and others, all of whom respond to the New and Used of their own<br />
experience.<br />
Marc Joseph was born in University Heights, Ohio, and attended Kent State University. Solo exhibitions of pictures from<br />
his first monograph American Pitbull (<strong>Steidl</strong> 2003) have been mounted in the United States and the Netherlands.<br />
Joseph lives in New York City, and teaches at the School of Visual Arts.<br />
Damon Krukowski is the author of a book of prose poems, The Memory Theater Burned (Turtle Point, 2004), and a<br />
chapbook of poems, 5000 Musical Terms (Burning Deck, 1995). Together with his partner Naomi Yang, he runs Exact<br />
Change, a publishing house that specializes in texts associated with avant-garde art movements of the early twentieth<br />
century including Surrealism, Dada, and Pataphysics. He and Yang are also musicians, and have released over a dozen<br />
albums with the bands Damon & Naomi, Magic Hour, and Galaxie 500. They live in Cambridge, Massachusetts, where<br />
Krukowski teaches writing at Harvard University.<br />
Contributors: Lydia Davis, Stephen Elliott, Shelley Jackson, Jonathan Lethem, Thurston Moore, Eileen Myles, Bob<br />
Nickas, Aaron Rose, Jeremy Sigler, Stephanie Snyder, Ian Svenonious, Nick Tosches.<br />
Marc Joseph<br />
New and Used<br />
Foreword by Damon Krukowski<br />
Texts by Jonathan Lethem, Stephen Elliott, and others<br />
Book design by Marc Joseph, Gerhard <strong>Steidl</strong> and Claas Möller<br />
184 pages, full colour printing<br />
9.25 x 11.25 in. / 23.4 x 28.5 cm<br />
Clothbound hardcover with a tipped-in image<br />
US $ 45.00 / £ 28.00 / R 40.00<br />
ISBN 3-86521-273-5<br />
ISBN-13 978-3-86521-273-3<br />
33
34<br />
Guido Mocafico<br />
Medusa<br />
Guido Mocafico<br />
Medusa<br />
In Greek mythology, the Medusa sees with such intensity that whatever crosses her gaze becomes petrified... much like<br />
the eye of the photographer armed with a camera. These are a species of photographs beyond the norm – where is the<br />
head? where are the eyes? the sex? – at the border of geometric abstraction, completely unrelated to the rest of the<br />
animal world.<br />
Guido Mocafico is neither a scientist nor a collector of curiosities, but a photographer and lover of art who partakes of<br />
the vocabulary and the colors of nature. He regards jellyfish as the creation of an unparalleled artist. A strange<br />
sensation emanates from his images, which combine a vision of the unknown with a large dose of mystery – and fear, for<br />
these animals secrete a toxic substance that when injected by sting can, in certain cases, cause death. With just the right<br />
amount of distance, Mocafico offers a contemporary view of the demiurge, showing us that we live in a world of illusion.<br />
Of Italian descent, Guido Mocafico was born in Switzerland in 1962. A specialist in still life, he works for international<br />
magazines such as Numéro, Paris Vogue, Vogue US, Vogue Men, Big, The Face, Self-Service, and Wallpaper. He has<br />
also undertaken numerous advertising campaigns for Gucci, Yves Saint Laurent, Clinique, Shiseido, and Hermès. Over<br />
the past years, Mocafico has been at work on a personal project related to architecture, and he continues to explore<br />
aesthetic and scientific themes in nature. He lives in Paris. In 2005 <strong>Steidl</strong> published his book Venenum in a limited<br />
edition of 1200 copies.<br />
Edited by Patrick Remy<br />
Essay by Jacqueline Goy<br />
Book design by Thomas Lenthal<br />
64 pages with 20 color plates<br />
9.5 x 14.75 in. / 24 x 37 cm<br />
Clothbound hardcover with dust jacket<br />
US $ 50.00 / £ 28.00 / R 40.00<br />
ISBN 3-86521-253-0<br />
ISBN-13 978-3-86521-253-5<br />
French edition (ISBN 3-86521-<strong>07</strong>0-8) distributed<br />
by Inextenso<br />
35
36<br />
Joel Grey<br />
Looking Hard at Unexamined Things<br />
For three years, from New York to Berlin by way of Los Angeles and Venice, Joel Grey has made new photographs in<br />
which he is seduced by color, texture and often mysterious urban tableaux. The work is often painterly, bringing to mind<br />
Bacon, Rothko, Cornell, Tuttle and Dine, all of whom have greatly influenced the photographer. Looking Hard at<br />
Unexamined Things brings together his work with industrial sites – abandoned buildings, graffiti, wall art, detritus and<br />
public works - and this often dark vision is Grey’s own walk on the wild side, and a poignant homage to the beauty of<br />
bruised and broken things.<br />
Joel Grey was born in Cleveland Ohio. Pictures I Had To Take, his first monograph printed at <strong>Steidl</strong>, collected work<br />
created over a thirty year period. This has been the subject of two solo shows, at Stanley Wise Gallery in New York and<br />
the Galerie im Einstein, Berlin. Recently his work has become part of the permanent collection of the Whitney Museum<br />
of American Art, New York. In addition, Grey is also an award winning actor in his spare time.<br />
Joel Grey<br />
Looking Hard at Unexamined Things<br />
Book design by Sam Shahid<br />
180 pages, full colour printing<br />
7 x 9.6 in. / 18 x 24.5 cm<br />
Sleeved softcover<br />
US $ 40.00 / £ 20.00 / R 30.00<br />
ISBN 3-86521-272-7<br />
ISBN-13 978-3-86521-272-6<br />
37
38<br />
An Unfortunate Tryst with Pipilotti Rist<br />
Duane Michals<br />
Foto Follies.<br />
How Photography Lost Its Virginity on the Way to the Bank<br />
“The announced demise of the decisive moment is premature.” Duane Michals<br />
Duane Michals’s new book takes a satirical and humorous look at contemporary photography, art criticism and the state<br />
of today’s art market. Whether parodying Wolfgang Tillmans or Thomas Ruff, Andres Serrano, Sherrie Levine, or Cindy<br />
Sherman, Michals uses his ferocious wit, keen intelligence and great pictorial skill to create pictures that are both<br />
humorous and penetrating, while taking aim at the pretensions that are often perceived as deliberately obscuring<br />
contemporary art. Michals provides us with a grand parody that exemplifies his mastery of the visual world and the<br />
written word.<br />
Duane Michals, born in 1932 in McKeesport, Pa., received a BA from the University of Denver in 1953 and worked as<br />
a graphic designer until his involvement with photography deepened in the late 1950s. Michals made significant,<br />
creative strides in the field of photography during the 1960s. In an era heavily influenced by photojournalism and its<br />
aesthetic, Michals manipulated the medium to communicate narratives using a distinctive pictorial technique.<br />
Balancing fragility and strength, gravity and humor, Michals’s work represents universal themes such as love, desire,<br />
memory, death, and immortality. In 1970 the Museum of Modern Art, New York, hosted Michals’s first solo exhibition,<br />
and a year later the George Eastman House, Rochester, N.Y., mounted another. More recently, he has had one-person<br />
shows at the Odakyu Museum, Tokyo (1999), and at the International Center of Photography, New York (2005).<br />
Michals has been honored with a CAPS Grant, a National Endowment for the Arts Fellowship, the International Center<br />
of Photography Infinity Award for Art, the Foto España International Award, and an Honorary Doctorate of Fine Arts<br />
from Montserrat College of Art, Beverly, Mass. Michals’s work belongs to numerous permanent collections in the U.S.<br />
and abroad, including the Israel Museum, Jerusalem; the J. Paul Getty Museum, Los Angeles; the Metropolitan Museum<br />
of Art, New York; the Moderna Museet, Stockholm; the Museum of Modern Art, New York; the National Museum of<br />
Modern Art, Kyoto; and the Philadelphia Museum of Art. Monographs of Michals’s work include Homage to Cavafy;<br />
Nature of Desire; Duane Michals: Now Becoming Then; Salute, Walt Whitman; The Essential Duane Michals;<br />
Questions Without Answers; and The House I Once Called Home. Duane Michals lives and works in New York City.<br />
Duane Michals<br />
Foto Follies. How Photography Lost Its Virginity on the Way to the Bank<br />
Book design by Duane Michals and Gerhard <strong>Steidl</strong><br />
96 pages<br />
6.2 x 9.4 in. / 16 x 24 cm<br />
Softcover<br />
US $ 24.00 / £ 15.00 / R 22.50<br />
ISBN 3-86521-275-1<br />
ISBN-13 978-3-86521-275-7<br />
Distributed through D.A.P. in North America<br />
English edition for rest of world published and distributed by<br />
Thames & Hudson<br />
39
40<br />
Kai Wiedenhöfer<br />
Wall<br />
“You cannot shake hands across a nine meter wall,” says a Palestinian pensioner who lives in the shadow of the<br />
Separation Barrier currently being built by the Israeli government.<br />
Since October 2003, photographer Kai Wiedenhöfer, who has been documenting the Israeli-Palestinian conflict for<br />
more than a decade, has been meeting with inhabitants of the Occupied Palestinian Territories living in the path of the<br />
barrier. Every six months, he has been returning to the territories to document the construction of the 650 kilometers of<br />
walls, fences, ditches and earth mounds, which form the border between the State of Israel and a future Palestinian<br />
entity.<br />
The series of images in this book are all 6 x 17 cm panoramics which depict the wall and fragments of life in its shadow.<br />
In 1989, the Berlin-based photographer documented the fall of the wall in his own city. Recent German history has<br />
convinced Wiedenhöfer that separation barriers offer no realistic solutions to political conflict.<br />
Kai Wiedenhöfer, born in Germany in 1966, studied photojournalism at the Folkwang School in Essen and Arabic in<br />
Damascus, Syria. Since 1989 the focus of his work is the Middle East. He received numerous awards, as the Leica<br />
Medal of Excellence, the Alexia Grant for World Peace and Cultural Understanding, World Press Photo Awards and the<br />
Eugene Smith Grant in Humanistic Photography. Most recently he was awarded with the Fuji Euro Press Award and<br />
the Getty Grant for Documentary Photography.<br />
Kai Wiedenhöfer<br />
Wall<br />
Book design by Kai Wiedenhöfer<br />
104 pages with 50 photo plates<br />
11.8 x 7.8 in. / 30 x 20 cm<br />
Hardcover<br />
US $ 40.00 / £ 20.00 / R 30.00<br />
ISBN 3-86521-117-8<br />
ISBN-13 978-3-86521-117-0<br />
41
42<br />
Klaus Staeck<br />
Pornografie<br />
Voyeurs, be warned: your expectations will be not be fulfilled by this book. It is filled with obscene photos, but, as the<br />
philosopher Herbert Marcuse put it: “It’s not the picture of a naked woman that’s obscene but that of a general who<br />
shows off his medals earned in a war of aggression.” It’s a confusing collection of curios of everyday violence: press<br />
photos of street fights, naked victims of war and tortured prisoners follow staged body-art pictures and all kinds of<br />
objects colored by desire, exposure and surveillance.<br />
The book is a complete work of art, offensive in every sense of the word. As an artistic manifesto about violence in<br />
the 21st century, it couldn’t be any more current. But Pornografie was first published in 1971 and then became an<br />
outstanding and timeless document of political artwork.<br />
Klaus Staeck, born in Saxonia, Germany in 1938, is one of the most prominent graphic artists in Germany. The<br />
Frankfurter Allgemeine Zeitung wrote: “Since the war hardly any other German artist has created as many photos that<br />
have become part of the collective memory.” His books are published by <strong>Steidl</strong>. Staeck is the President of the German<br />
Academy of Arts, Berlin. He lives in Heidelberg, where he works as a lawyer and artist.<br />
Klaus Staeck<br />
Pornografie<br />
Book design by Klaus Staeck<br />
392 pages with 295 black-and-white photos<br />
8 x 10 in. / 20 x 25 cm<br />
Softcover<br />
US $ 45.00 / £ 24.00 / r 35.00<br />
ISBN 3–88243–124–5<br />
ISBN-13 978-3-88243-124-7<br />
43
Catherine Balet<br />
Identity<br />
In January 2004, at a time when the French government was debating the banning of religious and political signs from<br />
schools, Catherine Balet started taking pictures of signs, labels, codes and icons that have a social and aesthetic<br />
significance in the world of teenagers. Extending the project from Paris to London, Berlin, Barcelona and Milan, it<br />
quickly became a record of the dress codes in European schools, referencing the tribal subdivisions. Teenagers in their<br />
struggle for identity and self-esteem and troubled by an urgent desire to be different, usually adopt the codes of a<br />
group, often inspired by music trends. In each city Balet discovered the same music, fashion, brands, bands and labels.<br />
Only details are different from one city to another as they reflect the complexity of the history of one country and the<br />
influence of its migrant population. In London and Barcelona, where the uniform is a school institution, Balet captured<br />
the way these young pupils customised their outfits.<br />
Casting her subjects in the street, she composes large portraits always framed in the same way. Only the background<br />
reveals the location. Richly descriptive, these portraits combine a documentary style with a poetic sensibility, capturing<br />
this complex mix of fragility and determination in the eyes of the portrayed teenagers.<br />
Catherine Balet, born in 1959, studied at the Ecole des Beaux Arts, Paris, and worked as a painter, exhibiting in Paris,<br />
London and the USA. In 1998, she progressively turned towards photography with an artistic approach to sociological<br />
issues. As a freelance photographer she collaborates with French and international press. Her work has been shown in<br />
several exhibitions. She lives in Paris.<br />
Catherine Balet<br />
Identity<br />
Book design by Gerhard <strong>Steidl</strong> and Catherine Balet<br />
160 pages, full color printing<br />
9 x 11.5 in. / 23 x 29 cm<br />
Softcover<br />
US $ 35.00 / £ 20.00 / R 28.00<br />
ISBN 3-86521-226-3<br />
ISBN-13 978-3-86521-226-9<br />
French edition (ISBN 3-86521-346-4) distributed<br />
by Inextenso<br />
45
46<br />
Sean Scully<br />
Glorious Dust<br />
“Pastel involves rubbing friable chalk over toothed paper, which in its nature confers a certain sparkling luminosity to<br />
the forms, and it is responsive to differences in pressure. The principle of pastel, Scully once told me, is that of putting<br />
on makeup. Scully’s historical importance lies in the way he has brought the greatest achievements of Abstract<br />
Expressionist painting into the contemporary moment.” Arthur C. Danto<br />
Sean Scully uses pastels to create abstract works which are an emotive response to color. This book brings together<br />
100 of his pastels in all their subtle and ecstatic celebration of the possibilities of color.<br />
Since 1993 Arthur Danto has written four texts about Sean Scully’s work. They are brought together for the first time in a<br />
volume which traces the history and development of this major artist in the writings of one of America’s leading art critics.<br />
Sean Scully was born in Dublin, Ireland in 1945. He started life as an immigrant as he moved to London with his<br />
parents, where he grew up and was educated in the English arts school system. Moving to New York in 1975, he<br />
nowadays maintains studios in New York, Barcelona and Munich, where he is Professor for Painting at the Akademie<br />
der Bildenden Künste. His paintings, drawings and more recently his photographs, have been shown in most of the<br />
major museums around the world. <strong>Steidl</strong> recently published The Color of Time.<br />
Arthur C. Danto, born in 1924, studied art and history at Wayne University and then at Columbia University. After<br />
studying in Paris for a year, he returned to teach at Columbia, where he is currently Johnsonian Professor of Philosophy.<br />
Since 1984, he has been art critic for The Nation, and in addition to his many books on philosophical subjects, he has<br />
published several collections of art criticism, most recently, The Madonna of the Future: Essays in a Pluralistic Art<br />
World. In 1986 <strong>Steidl</strong> published his book on Sartre in German. He lives in New York City.<br />
Exhibitions: Wall of Light traveling to The Cincinnati Art Museum Ohio, June 24 – September 3, 20<strong>06</strong>; and Metropolitan<br />
Museum of Art, New York, September 25 – January 14, 20<strong>07</strong>. An European and retrospective beginning at MACRO<br />
(Museum of Contemporary Art Rome) in 20<strong>07</strong>, then travels to Lenbachhaus in Munich, the Miró Foundation in Barcelona<br />
and Musee d’Art Moderne de St. Etienne Metropole.<br />
Sean Scully<br />
Glorious Dust<br />
Book design by Sean Scully and Gerhard <strong>Steidl</strong><br />
Book 1: 224 pages with 100 color plates<br />
Clothbound hardcover<br />
Book 2: 64 pages with four essays by Arthur C. Danto<br />
Sewn softcover<br />
Two books housed in a slipcase<br />
7.75 x 6 in. / 20 x 15 cm<br />
US $ 50.00 / £ 28.00 / R 40.00<br />
ISBN 3-86521-081-3<br />
ISBN-13 978-3-86521-081-4<br />
47
48<br />
Roni Horn<br />
Doubt Box (Book IX of To Place)<br />
A collection of two-sided images, a set of cards.<br />
One face – the glacial river Skaftá: changing and constant.<br />
One face – a collection of possibilities: instances of . . . a boy, an iceberg or two, some birds.<br />
Each card offers a hybrid or composite – but the collection suggests the duplicitous nature of identity.<br />
Roni Horn was born in New York where she continues to live and work. Recent solo exhibitions of her work include the<br />
Whitney Museum of American Art, New York; Musée d’Art Moderne de la Ville de Paris; Fundação Serralves, Porto;<br />
Fotomuseum <strong>Winter</strong>thur and Centre Pompidou, Paris. Her recent publications, Dictionary of Water, This is Me, This is<br />
You, Cabinet of, If on a <strong>Winter</strong>’s Night…, Her, Her, Her, & Her, Wonderwater (Alice Offshore), Index Cixous (Cix Pax),<br />
Rings of Lispector (Agua Viva) have all been published by <strong>Steidl</strong>.<br />
To Place is an ongoing series of publications. Each volume is a unique dialogue addressing the relationship between identity and place. The books take as their<br />
starting point Iceland and the evolving experiences of the author in this country.<br />
Book I: Bluff Life – Reproducing 13 watercolor and graphite drawings produced in 1982 during a two month stay in a lighthouse off the southern coast of Iceland.<br />
1990. 14 color reproductions, 36pp. / Book II: Folds – A collection of photographs documenting extent sheepfolds; a unique indigenous structure found<br />
throughout the island. 1991. 34 color reproductions, 72pp. / Book III: Lava – Typographic and photographic drawings use the subject of lava to give form to the<br />
remarkable sense of place which is quintessential Iceland. 1992. 16 color and 29 tritone reproductions, 96pp. / Book IV: Pooling Waters – Volume 1: A collection<br />
of photographs united by the near invisible presence of the geothermally heated waters of Iceland. The structures built to access and utilize these waters range<br />
from the remote and inaccessible hot pot to power plants and baptismal fonts. 27 color reproductions and 25 duotones, 96pp. – Volume 2: A collection of 36<br />
texts – short anecdotal pieces, essays, and short stories gathered from the author’s experiences in Iceland. Text in English/Icelandic. 1994. 1 color and 3 duotone<br />
reproductions, 176pp. / Book V: Verne’s Journey – The discovery of a landscape that already existed in fiction, just as Verne invented a fiction that already existed<br />
in Iceland. 1995. 8 duotone and 19 color reproductions, 56pp. / Book VI: Haraldsdóttir – Using water as context, photographs of a woman create an intimate but<br />
ambiguous portrait where the face becomes the place. 1996. 30 color and 31 duotone reproductions, 96pp. / Book VII: Arctic Circles – Photographs gathered<br />
around a reading of the Northern Horizon as a collection of cyclical and circular events. 1998. 65 color and 7 duotone reproductions, 136pp. / Book VIII:<br />
Becoming a Landscape – Synchronous paired volumes: photographs of hot springs intermingled with portraits of a child. 2001. Two volumes: 24 color<br />
reproductions, 48pp. each.<br />
Roni Horn<br />
Doubt Box (Book IX of To Place)<br />
Book design by Roni Horn<br />
8 x 10 in. / 20.3 x 25.4 cm<br />
Limited edition of 1000<br />
Boxed set of 28 two-faced cards with 56 color plates<br />
US $ 100.00 / £ 55.00 / R 85.00<br />
ISBN 3-86521-276-X<br />
ISBN-13 978-3-86521-276-4<br />
A special edition of 100 copies with a unique two-faced card<br />
will be available.<br />
49
<strong>Steidl</strong> & Partners<br />
<strong>Steidl</strong> & Partners<br />
Fondation H C B Paris<br />
BALTIC Gateshead<br />
Helmhaus Zurich<br />
Hammer Museum Los Angeles<br />
Steven Kasher Gallery New York<br />
Bauhaus-Archiv Berlin<br />
Davison Art Center Middletown<br />
The Allen Memorial Art Museum Oberlin<br />
Museum Folkwang Essen<br />
Museum Ludwig Cologne<br />
MoMA / P.S.1 New York<br />
SK Stiftung Kultur Cologne<br />
Schaulager Basel<br />
Artangel London<br />
Bose Pacia Gallery New Delhi<br />
German Photographic Society Cologne<br />
Kicken Gallery Berlin<br />
Aargauer Kunsthaus Aarau<br />
Photoworks Brighton<br />
Mark Moore Gallery Santa Monica<br />
Palazzo Ruspoli Rome<br />
Magnum Photos Paris
52<br />
Henri Cartier-Bresson<br />
Scrap Book<br />
Henri Cartier-Bresson was taken prisoner by the Germans in 1940. After two unsuccessful attempts, he managed to<br />
escape in 1943. During this time, the MoMA of New York, assuming that the artist had died in war, started preparing a<br />
“posthumous” exhibition of his work. When he reappeared, he was delighted to learn about the exhibition and he was<br />
decided to review his entire work and to select those photographs that he would have liked to exhibit. He selected and<br />
printed about 300 pictures, mostly unpublished at that time and went on to New York in 1946 with the prints in his<br />
suitcase. On his arrival, he bought a big “scrap book” into which he glued all his prints before showing them at MoMA.<br />
The exhibition was inaugurated on 4 February 1947, just before the creation of Magnum.<br />
In the 1990s, Cartier-Bresson once again became interested in this scrap book. The HCB Foundation, the present<br />
owner of the prints, has finished restoring them, making it possible to exhibit these extraordinary hitherto unpublished<br />
works to the public. This book is a facsimile reprint of Cartier-Bresson’s original scrap book.<br />
Henri Cartier-Bresson was born in France in 1908. He studied painting and in the early 1930’s he frequented members<br />
of the French surrealist movement and began to photograph. After escaping prison camp in 1943, he made portraits of<br />
artists, covered the liberation of Paris and filmed a documentary on the return of war prisoners. In 1946 he spent a year<br />
in the US to complete his first exhibition at MoMA. In 1947 he founded Magnum Photos with Robert Capa, George<br />
Rodger and David Seymour, and subsequently started travelling the world to take photographs. His first important book<br />
The Decisive Moment was published by Tériade in 1952. In the late 60’s, he stopped reportage and re-embraced his<br />
first passion, drawing. Cartier-Bresson created his Foundation in Paris in 2003, and passed away in 2004.<br />
Co-published with Fondation Henri Cartier-Bresson, Paris.<br />
Exhibition: Fondation Henri Cartier-Bresson, September to December, 20<strong>06</strong>.<br />
Henri Cartier-Bresson<br />
Scrap Book<br />
Texts French / English<br />
Introduction by Agnès Sire<br />
Essay by Michel Frizot<br />
Book design by Gerhard <strong>Steidl</strong><br />
256 pages with 234 tritone plates<br />
10.5 x 12.5 in. / 27 x 32 cm<br />
Leatherbound hardcover<br />
US $ 80.00 / £ 45.00 / R 65.00<br />
ISBN 3-86521-266-2<br />
ISBN-13 978-3-86521-266-5<br />
Distributed through D.A.P. in North America<br />
Distributed in France by Inextenso<br />
Distributed in Germany, Austria and Switzerland by GVA<br />
In all other territories published and distributed by<br />
Thames & Hudson<br />
53
Sam Taylor-Wood<br />
Still Lives<br />
One of the leading artists of her generation, Sam Taylor-Wood is acclaimed for her compelling psychological portraits<br />
in photography, film and video. Her work is distinguished by an ironic and subversive use of these media to create<br />
enigmatic situations replete with latent but explosive energy. Compulsively examining and dissecting the contemporary<br />
psyche and the place of the individual within the social group, she displays the vulnerability and fragility of the human<br />
body and self.<br />
This publication has been conceived as two books to combine both the traditional elements of a museum catalogue<br />
and the vibrant possibilities of an artist’s book. Many of the now familiar images of the artist’s most iconic works are<br />
reproduced alongside previously unpublished images from her own archives, including personal, reportage and<br />
documentary images. The artist has asked musicians and writers who have inspired her work to contribute text to<br />
accompany images of works from the last ten years.<br />
Sam Taylor-Wood graduated from Goldsmiths College in 1990. Since her first solo exhibition at White Cube in 1995,<br />
Taylor-Wood has had numerous solo shows including Fundacio La Caixa, Barcelona; Kunsthalle, Zurich; Hirshhorn<br />
Museum, Washington DC; Fondazione Prada, Milan; Matthew Marks Gallery, New York; Shiseido Gallery, Tokyo;<br />
Stedelijk Museum, Amsterdam and the Museum of Contemporary Art, Montreal, the Russian State Museum, St.<br />
Petersburg and MCA Moscow. In 1997 Taylor-Wood received the Illy Café Prize for Most Promising Young Artist at the<br />
Venice Biennale and in the following year she was nominated for the Turner Prize. In 2002 she was the youngest artist<br />
to have a solo show at the Hayward Gallery, London.<br />
Co-published with BALTIC.<br />
Exhibition: BALTIC, Gateshead, 17 May – 3 September, 20<strong>06</strong>.<br />
Sam Taylor-Wood<br />
Still Lives<br />
Texts by Nick Cave, Peter Doroshenko,<br />
James Fox, Harland Miller, Rufus Wainwright<br />
and Ossian Ward, and an interview<br />
with the artist by Annushka Shani<br />
Book design by <strong>Steidl</strong><br />
Two books housed in a sleeve<br />
9.25 x 11.75 in. / 23.4 x 29.9 cm<br />
Book 1 - 80 pages with 60 color and b/w plates<br />
Paperbound hardcover<br />
Book 2 - 112 pages with 100 color and b/w plates<br />
Softcover<br />
US $ 50.00 / £ 30.00 / R 40.00<br />
ISBN 3-86521-323-5<br />
ISBN-13 978-3-86521-323-5<br />
55
Werner Bischof<br />
WernerBischofPictures<br />
WernerBischofPictures presents the work of one of the outstanding photographers of the 20th century. Werner<br />
Bischof (1916–1954) is known as a master of black-and-white photography. His work was created in a very brief<br />
period and took him halfway around the world. This volume contains extensive examples of Bischof’s photography,<br />
including his color work which were produced at a time when the materials were only recently available.<br />
Bischof’s biography is that of a modern man. During his studio period in Zurich in the 1930s, he adopted “Neues<br />
Sehen” and at the end of the Second World War, he produced extensive documentation of the destruction and initial<br />
reconstruction across Europe. During the early days of photojournalism, Bischof published his photographs in the most<br />
significant magazines in the Western world and became the first member of the legendary Magnum Photos.<br />
His reporting of the famine in India brought Bischof international acclaim in 1951. He pursued his interest in the<br />
relationship between tradition and modernity on extended travels through Asia. In autumn 1953, Bischof made largescale<br />
color photographs in the USA and then, in his ongoing search for harmony between man and nature, he travelled<br />
through Central America to South America, where he died in 1954 in an automobile accident in the Andes.<br />
But Werner Bischof’s legacy, the work of the 37-year-old artist, had ripened into a comprehensive and partisan<br />
testimony to human life, to the joy and misery of a contradictory, fragmented world.<br />
In co-operation with the Werner Bischof Estate, Helmhaus Zurich and Benteli Verlag, Bern.<br />
Werner Bischof<br />
WernerBischof Pictures<br />
Edited by Marco Bischof, Simon Maurer and Peter Zimmermann<br />
Essay by Simon Maurer<br />
Book design by Peter Zimmermann<br />
464 pages with 350 tritone and 80 color plates<br />
9.4 x 10.5 in. / 24 x 26.7 cm<br />
Clothbound hardcover with dust jacket<br />
US $ 75.00 / £ 45.00 / R 65.00<br />
ISBN 3-86521-265-4<br />
ISBN-13 978-3-86521-265-8<br />
57
58<br />
A Letter from Japan: The Photographs of John Swope<br />
Edited by Carolyn Peter<br />
As one of the first American photographers to set foot on Japanese soil at the end of World War II, even before Japan<br />
had officially surrendered, John Swope experienced and recorded a critical, peculiar, and fragile moment in the history<br />
of Japan and a war-torn world. His powerful photographic essay is complemented by a 144-page letter that he wrote<br />
to his wife, the actress Dorothy McGuire, which describes, in detail, his experiences and emotional reactions to all that he<br />
saw and photographed.<br />
Swope went to Japan as part of the elite team of Edward Steichen Naval photographers to document the release of Allied<br />
prisoners of war, but he went far beyond his official duties. During a three-and-a-half-week period he took photographs<br />
that vividly convey the impact of World War II on the local population and the land, as well as the Allied prisoners. Having<br />
visited Japan as a young man fifteen years before, Swope struggled in 1945 with the numerous contradictions he<br />
observed and felt. His photographs, together with his words, convey a poignant, highly personal view of this world in<br />
limbo expressing a great sense of humanity and sensitivity for people on both sides of the conflict. The book gives insight<br />
into Swope’s larger pursuit of capturing the universal human experience by including highlights from his work as a<br />
Hollywood photographer, from his Life magazine career, and from his international travels from the 1930s to the 1970s.<br />
John Swope (1908–1979) began his photographic career in the 1930s capturing unexpected images of behind-thescenes<br />
Hollywood. This series became the subject of a book entitled Camera Over Hollywood published in 1939.<br />
During World War II he collaborated with John Steinbeck on a book entitled Bombs Away: The Story of a Bomber Team<br />
Written for the Army Air Force (1942). After the war, Swope had a successful career as a freelance magazine<br />
photographer working primarily for Life magazine. He had several exhibitions in the 1950s and 60s at museums<br />
including The Albright-Knox Gallery of Art, The Nelson-Atkins Museum, and the Santa Barbara Museum of Art.<br />
Co-published with the UCLA Grunwald Center for the Graphic Arts and the Hammer Museum, Los Angeles.<br />
A Letter From Japan: The Photographs of John Swope<br />
Edited by Carolyn Peter<br />
Essays by Carolyn Peter, John W. Dower<br />
and a letter by John Swope<br />
Book design by Lorraine Wild, Victoria Lam<br />
and Hilary Greenbaum of Green Dragon Office<br />
256 pages with 114 plates<br />
10.5 x 8.5 in. / 21.6 x 26.7 cm<br />
Clothbound hardcover with two tipped-in images<br />
US $ 45.00 / £ 28.00 / R 40.00<br />
ISBN 3-86521-267-0<br />
ISBN-13 978-3-86521-267-2<br />
59
60<br />
Least Wanted: A Century of American Mugshots<br />
Edited by Steven Kasher and Mark Michaelson<br />
Punks, sneaks, mooks and miscreants. Hookers, stooges, grifters and goons. These are the Least Wanted. Men and<br />
women. Elderly and adolescent. Rich and poor. Mostly poor. These photographs are part of a collection of over 10,000<br />
American criminal mugshots ranging from the 1870s to the 1970s gathered by Mark Michaelson, an award-winning<br />
editorial art director and artist living in New York City.<br />
Least Wanted is a poetic encyclopedia of discarded portraits set free from the steel file-drawers of police departments<br />
and prisons. Created as utilitarian instruments, they survive as extraordinary visual artifacts. Bored, sheepish, proud,<br />
coy, tough, defiant, bounced, bloodied, bruised, broken and innocent (until proven guilty) faces. They stare back at the<br />
camera with unmistakable individuality. This is central casting for the Late Late Show of a profoundly unvarnished<br />
reality. Small-timers. <strong>Fall</strong>en through the cracks.<br />
These images, meant to be destroyed when obsolete, are remnants of a bygone era of hard-copy originals: physical<br />
photographs, often accompanied by municipal ephemera. Glued to cards and manuscripts. Typed on and rubber<br />
stamped. Measured and fingerprinted. Documented and classified.<br />
Mark Michaelson is an editorial art director living in New York City. In a 25-year career, he has served as art director for<br />
numerous publications such as Newsweek, Allure, New York, Entertainment Weekly, High Times, and recently the<br />
short-lived Radar magazine. Born in Providence, Rhode Island, Mark studied with design legends Bea Feitler and<br />
Milton Glaser at the School of Visual Arts in New York. With the poet John Giorno, he produced the Best of William<br />
Burroughs CD boxed set which was nominated for a Grammy Award in the category of album-cover design. Mark has<br />
been passionately collecting mugshots for ten years.<br />
Co-published with Steven Kasher Gallery, New York.<br />
Exhibition: Steven Kasher Gallery, New York, September 14 – October 14, 20<strong>06</strong>.<br />
Least Wanted: A Century of American Mugshots<br />
Edited by Steve Kasher and Mark Michaelson<br />
Texts by Mark Michaelson and Kio Starr<br />
Essay by Bob Nickas<br />
Book design by Mark Michaelson and Steve Kasher<br />
288 pages with 330 color plates<br />
8.5 x 11 in. / 22 x 28 cm<br />
Hardcover<br />
US $ 50.00 / £ 28.00 / R 40.00<br />
ISBN 3-86521-291-3<br />
ISBN-13 978-3-86521-291-7<br />
61
62<br />
László Moholy-Nagy: Color in Transparency<br />
Photographic Experiments in Color, 1934–1946<br />
Edited by Jeannine Fiedler and Hattula Moholy-Nagy<br />
László Moholy-Nagy (1895–1946) was one of the most ardent seekers of the ‘New Vision’ among the early twentiethcentury<br />
avant-garde artists. His ongoing preoccupation with the phenomenon of light defined all periods of his artistic<br />
creativity, and his strength lay in his effortless skill translating light and spatial dimensions from one medium to another.<br />
In the early 1930s the first color processes became widely available. After he had mastered the different fields of<br />
black/white photography, it was only to be expected that Moholy would focus his creative energy on the next hot issue<br />
among photographers. Color photography proved to be one of Moholy’s most important media of artistic production,<br />
but until now, with a few exceptions, his work in the field of color photography is unknown.<br />
This book presents 100 works – advertisements, portraits, urban views, New Bauhaus studies, and abstract<br />
compositions – from the early days of Moholy’s experimentation with color in 1934 until his death in 1946. A foreword<br />
by Hattula Moholy-Nagy, an introductory essay and extended captions by Jeannine Fiedler, a chronology and<br />
bibliography will present the history of color photography and the significance of these works in Moholy’s own oeuvre.<br />
Jeannine Fiedler, born in 1957, is an art historian and critic. She was guest curator at the Bauhaus-Archiv Berlin, and<br />
has written and edited a number of books, including Paul Outerbridge, Jr (1993), Social Utopias of the Twenties<br />
(1995), Bauhaus (1999), László Moholy-Nagy. 55 photos (2001).<br />
Hattula Moholy-Nagy, born in 1933, is an archaeologist and the founder of The Moholy-Nagy Foundation. Her articles<br />
on Moholy-Nagy include “Chicagói Emlékek” (Chicago Memories) (1995), “Moholy-Nagy: The Late Photography/Die<br />
späte Photographie” (1997), “László Moholy-Nagy: An Appreciation” (2002), and “László Moholy-Nagy: Notes on a<br />
Life in Motion” (2004).<br />
Co-published with Bauhaus-Archiv, Berlin.<br />
Exhibition: Bauhaus-Archiv, Museum für Gestaltung, June 21 to September 4, 20<strong>06</strong>, and touring venues.<br />
László Moholy-Nagy: Color in Transparency<br />
Photographic Experiments in Color, 1934–1946<br />
Edited by Jeannine Fiedler and Hattula Moholy-Nagy<br />
Essay by Jeannine Fiedler<br />
and a foreword by Hattula Moholy-Nagy<br />
Book design by Sarah <strong>Winter</strong> and Jeannine Fiedler<br />
248 pages with 100 color plates<br />
8.25 x 11.75 in. / 21 x 30 cm<br />
Clothbound hardcover with dust jacket<br />
US $ 65.00 / £ 35.00 / R 49.00<br />
ISBN 3-86521-293-X<br />
ISBN-13 978-3-86521-293-1<br />
63
64<br />
Philip Trager<br />
This monograph presents a complete overview of the photographs of Philip Trager, one of the most important<br />
photographers of architecture and dance of the twentieth century. It chronicles work from his books and unpublished<br />
photographs from a wide range of projects. Trager’s books are highly regarded as modern albums which capture the<br />
spirit of their subject matter in luminous and compelling photographs of architecture and dance.<br />
Trager’s distinctly personal photographs of buildings are regarded as landmarks in architectural photography and have<br />
become standard documents for architectural and art historians, as well as architects. His expressionistic photographs<br />
of dancers in outdoor settings capture the essence of the work of many of the best contemporary choreographers and<br />
dancers, causing the viewer to rethink the field of dance photography.<br />
The book includes essays; an extensive interview with Trager; photographs illustrating his life in photography; an<br />
illustrated section of selected projects and commissions; and a chronology and bibliography.<br />
Philip Trager was born in 1935 in Connecticut. His books include New York, Photographs of Architecture, The Villas of<br />
Palladio, Changing Paris, Dancers, Persephone and, published by <strong>Steidl</strong>, Faces. Four of his books have been selected<br />
as Editor’s Choice by the New York Times Book Review. Among other book awards are Finalist for the Grand Prix<br />
Award at Les Rencontres Internationales de la Photographie, and one of the Books of the Year for the American<br />
Institute of Graphic Arts. Exhibited extensively in museums and galleries worldwide, Trager’s photographs are held in<br />
numerous public and private collections.<br />
Co-published with Davison Art Center, Wesleyan University and the Allen Memorial Art Museum, Oberlin College.<br />
Exhibition: University of Massachusetts at Dartmouth, June 23 — September 17, 20<strong>06</strong>; Jacob’s Pillow Dance Festival,<br />
Becket, Massachusetts, June 17 — August 27, 20<strong>06</strong>, John Stevenson Gallery, New York, November 2 — December 30,<br />
20<strong>06</strong>; The Allen Memorial Art Museum, Oberlin College, <strong>Fall</strong> 20<strong>07</strong>; The Library of Congress, 2008.<br />
Philip Trager<br />
Essays by Barbara L. Michaels, Eiko Otake, Norton Owen,<br />
Andrew Szegedy-Maszak, and John Wood<br />
Book design by Philip Trager, Bernard Fischer and Gerhard <strong>Steidl</strong><br />
312 pages with 156 tritone plates and 50 text illustrations<br />
10 x 12.25 in. / 25.2 x 31.2 cm<br />
Clothbound hardcover with dust jacket<br />
US $ 75.00 / £ 40.00 / R 60.00<br />
ISBN 3-86521-239-5<br />
ISBN-13 978-3-86521-239-9<br />
65
66<br />
Ken Ohara<br />
Extended Portrait Studies<br />
Since the late 1960s, photographer Ken Ohara has concentrated his efforts on expanding the limited conventions for<br />
the human portrait. At the age of twenty, Ohara moved from Tokyo to New York in 1962. Eight years later he published<br />
his extraordinary first book ONE, which consisted of a series of uniformly tight close-ups of a multitude of diverse faces<br />
that he photographed on the streets of New York. A portion of this project was first exhibited at MoMA in 1974 in New<br />
York. Over the next thirty years, Ohara has continued his portrait studies, all the while exploring a variety of means to<br />
alter the interaction between photographer, subject, and the resulting portrait image.<br />
This retrospective book and exhibition considers for the first time Ohara’s seven major projects that systematically<br />
explore a variety of elements that shape and reshape the possibilities of photographic portraiture. Ohara’s series<br />
present striking results from his different approaches to defining the character of the portrait transaction – ranging from<br />
radical close-ups of hundreds of anonymous faces, to one extended self-portrait comprised of the photographer’s selfexposure<br />
made every minute for a period of 24 hours, to journals composed systematically of one view looking outward<br />
and a second view including the photographer’s image for each day of a year that the photographer compiled in the<br />
compressed format of the leporello or folded book. Also included in this retrospective are a collaborative series of<br />
photographs made by others for Ohara, and a more recent series of 100 portraits in which each “sitting” was<br />
deliberately designed to register the subject’s dynamic contribution by lasting an hour.<br />
As photographic historian and guest curator Sally Stein proposes, in its rigorously varied breadth the work of Ken<br />
Ohara not only offers one of the most sustained examinations of space and time in photographic portraiture but also<br />
provokes a rethinking of the conventional limits of photographic depiction.<br />
Co-published with Museum Folkwang, Essen.<br />
Ken Ohara<br />
Extended Portrait Studies<br />
Essay by Sally Stein<br />
Book design by Bernard Fischer and Sarah <strong>Winter</strong><br />
88 pages with 53 tritone plates<br />
9.5 x 10.5 in. / 24 x 27 cm<br />
Softcover<br />
US $ 25.00 / £ 14.50 / R 20.00<br />
ISBN 3-86521-294-8<br />
ISBN-13 978-3-86521-294-8<br />
German edition (ISBN 3-86521-321-9) distributed by GVA<br />
67
68<br />
Facts<br />
Photography of the 19th and 20th centuries<br />
from the Museum Ludwig Cologne / Agfa Collection<br />
“Facts are marvelous replacements for suppositions.” Gustave Flaubert<br />
Since the spectacular purchase of the Agfa Foto-Historama collections, the Museum Ludwig in Cologne can lay claim<br />
to the earliest daguerreotypes from Berlin, albums which once belonged to Alexander von Humboldt, photographs by<br />
Desiré Charnay of Mexico and Maxime Du Camp of Egypt, Auguste Salzmann of Jerusalem, Charles Clifford of Spain,<br />
August F. Oppenheim of Greece, photographic incunabula by David Octavius Hill and Robert Adamson, as well as<br />
prints by Julia Margaret Cameron, Nadar and Franz Hanfstaengl. The inventory also includes 200 caricatures and<br />
illustrations on the behavior of people in front of and behind the camera and numerous documents and autographs from<br />
Daguerre to Talbot, from Hermann Biow to László Moholy-Nagy. Erich Stenger obtained from August Sander a rare<br />
original ‘Stammappen’ on the work of “Citizens of the 20th Century”. The Gesellschaft Deutscher Lichtbildner (GDL)<br />
was then honored to present him with a portfolio of more than 50 portraits of 1949/50 members.<br />
In the 1960s the following were added to the collection: the personal estate of Hermann Krone of Dresden,<br />
photographs by Baldus and Charles Negre, more than 300 portraits of artists, writers and politicians shot by Hugo<br />
Erfurth in Dresden and Cologne, photographs by Erich Salomon, Fritz Henle, etc. This unique inventory and the history<br />
of this collection is said to be the oldest collection on the cultural history of photography in German-speaking countries.<br />
Now for the first time Facts provides an overview of the entire collection.<br />
Co-published with Museum Ludwig, Cologne.<br />
Exhibition: Museum Ludwig, Cologne from May 20 to August 13, 20<strong>06</strong>.<br />
Facts<br />
Photography of the 19th and 20th centuries<br />
from the Museum Ludwig Cologne / Agfa Collection<br />
Edited by Bodo von Dewitz<br />
Book design by Cordula Lebeck<br />
328 pages with 360 color plates<br />
9.5 x 11 in. / 24 x 28 cm<br />
Softcover<br />
US $ 50.00 / £ 28.00 / R 40.00<br />
ISBN 3-86521-295-6<br />
ISBN-13 978-3-86521-295-5<br />
69
70<br />
Wolfgang Tillmans<br />
Freedom From The Known<br />
Freedom From The Known is Wolfgang Tillmans’ first major solo exhibition for an American museum, and unlike any he<br />
has ever previously mounted. The exhibition shown at P.S.1/ MoMA focuses on the artist’s purely abstract photographs,<br />
and explores the presence abstraction has had within his figurative and representational work. Twenty-four of the<br />
twenty-five large-scale works onview were produced specifically for this exhibition and have never been shown before.<br />
“This group of pictures grew together whilst I was working on this project. I thought about how to express in a simple<br />
but not blunt way an awareness of exhibiting in a country whose politics fill me with a great deal of fear and anger. There<br />
is a glaring dichotomy of working with pure abstraction, which is extremely removed from literal political content, and<br />
the personal sense of urgency that dominates much of my waking hours. Yet I feel the purely abstract works and nondirect<br />
political contentphotographs are my freedom of expression, my resistance to feeling completely dominated by<br />
the fall-out of a world bent on reviving ideologies and interested in erecting borders and barriers and [inciting] hatred<br />
between people.” Wolfgang Tillmans<br />
Most of Tillmans’s works in this book are “camera-less” – pictures made by the direct manipulation of light on paper,<br />
rather than on a negative. Alongside the abstract works, a group of figurative/representational photographs from the<br />
series Empire, based on pictures Tillmans made between 1991 and 2002, are on view. The original pictures used for<br />
Empire were either passed through a photocopy or fax machine, then scanned to the highest possible resolution,<br />
turned into large-scale C-prints and framed. Due to the large format, minor surface incidents are intentionally<br />
enhanced, along with the grain and grit.<br />
The German-born and London-based Wolfgang Tillmans (born 1968) has been the subject of numerous museum and<br />
gallery exhibitions over the past fifteen years. He was a recipient of the prestigious Turner Prize in 2000, awarded by<br />
Tate Britain. The Museum of Contemporary Art in Chicago will present his first American museum retrospective<br />
opening in May, 20<strong>06</strong>.<br />
Co-published with MoMA/P.S.1, New York.<br />
Wolfgang Tillmans<br />
Freedom From The Known<br />
Essay by Bob Nickas<br />
Book design by Wolfgang Tillmans<br />
80 pages with 8 duotone and 18 color plates<br />
9 x 11 in. / 22.5 x 27.7 cm<br />
Clothbound hardcover<br />
US $ 25.00 / £ 14.50 / R 20.00<br />
ISBN 3-86521-263-8<br />
ISBN-13 978-3-86521-263-4<br />
71
72<br />
Mitch Epstein<br />
Work<br />
When Die Photographische Sammlung/SK Stiftung Kultur in Cologne, Germany invited Mitch Epstein to make an<br />
exhibition in 20<strong>06</strong> of his work from past to present, it was the perfect opportunity to fill a gap in his publishing history.<br />
Widely acknowledged as one of the world’s most distinguished art photographers, here, for the first time, Epstein has<br />
gathered his photographs together into a book that presents the span of his career. Mitch Epstein: Work allows readers<br />
to trace the evolution of his formal and thematic concerns. We see how his aesthetic views, photographic tools, and<br />
politics have transformed and influenced one another over time. This book offers a look at each of Epstein’s major<br />
projects – “Common Practice” (1973-89); “Vietnam” (1992-95); “The City” (1995-98); “Family Business” (2000-03),<br />
and his current, ongoing “American Power.” His early work on the theme of recreation is given its most natural yet<br />
unexpected configuration: images from the United States are mixed with those from other parts of the world. A short<br />
essay by the artist or an excerpt from his previously published writings orients each chapter. The book includes a DVD<br />
of his film, “Dad.” Many of the pictures here have never been seen before, let alone published. For Epstein fans and for<br />
those who would like an introduction to the artist’s work, this book is a necessary addition to their library.<br />
Mitch Epstein’s photographs are in numerous major museum collections, including New York’s Metropolitan Museum,<br />
Museum of Modern Art and Whitney Museum of American Art, the J. Paul Getty Museum in Los Angeles, and the San<br />
Francisco Museum of Modern Art. Epstein’s six other books include Recreation: American Photographs 1973-1988<br />
(2005), Family Business, which received the 2004 Kraszna-Krausz Photography Book Award (2003), and The City<br />
(2001). A recent Guggenheim Fellow, Epstein is currently at work on his new project, “American Power.”<br />
Co-published with Die Photographische Sammlung/SK Stiftung Kultur, Cologne.<br />
Exhibition: Die Photographische Sammlung / SK Stiftung Kultur in Cologne, Germany from September 30 to<br />
November 7, 20<strong>07</strong> and Landesgalerie am Oberrösterreichischen Landesmuseum Linz from February 28, to May 6, 20<strong>07</strong>.<br />
Mitch Epstein<br />
Work<br />
Essays by Eliot Weinberger, Mia Fineman, Susanne Lange,<br />
Gabriele Conrath-Scholl and Martin Hochleitner<br />
Book design by Mitch Epstein, Susan Bell and Gerhard <strong>Steidl</strong><br />
276 pages with 26 duotone and 138 color plates<br />
9 x 10.5 in. / 22.9 x 26.6 cm<br />
Hardcover<br />
Enclosed DVD with film “Dad”, 25 min. (PAL/NTSC)<br />
US $ 50.00 / £ 28.00 / R 40.00<br />
ISBN 3-86521-281-6<br />
ISBN-13 978-3-86521-281-8<br />
73
74<br />
Tacita Dean<br />
Analogue. Drawings 1991–20<strong>06</strong><br />
Over the past 15 years Tacita Dean has created a body of work, impressive in its idiosyncratic treatment of film and<br />
drawings and striking in its contrary beauty. As a follow-up to the films, the publication of “Analogue” is the first<br />
methodical study and graphic presentation of Dean’s drawings. The volume contains not just drawings on paper but<br />
also on blackboards and alabaster and in photographs. There is a close connection between Dean’s drawings and her<br />
film productions, which provide the creative impulse for her work in other media. In an interview, Dean explains these<br />
connections by reference to several examples.<br />
The exhibition at Schaulager is the most comprehensive survey and offers a representative selection of her oeuvre. The<br />
structure of her work is mirrored in the conception and arrangement of the exhibition in order to connect cinematic,<br />
sketched, and photographic images.<br />
English artist Tacita Dean was born in Canterbury in 1965. Since 2001 she has lived and worked in Berlin, where she<br />
was previously invited to study on a DAAD scholarship. Originally trained as a painter, Tacita Dean has worked in a<br />
number of media since 1991, primarily film, drawing and photography. Her works have already been the subject of<br />
many solo shows around the world in a variety of museums and galleries, most recently at Tate St Ives (2005), the De<br />
Pont Foundation in Tilburg, Holland (2004) and the ARC/Musée d’Art Moderne de la ville de Paris (2003), as well as at<br />
Tate Britain (2001), among others. The Museum für Gegenwartskunst in Basel dedicated a solo exhibition to the artist<br />
in 2000. She recently also curated the group exhibition An Aside, on display in the Glynn Vivian Gallery in Swansea,<br />
Wales.<br />
Co-published with Schaulager, Basel.<br />
Exhibition: Schaulager, Basel from 13 May to 24 September 20<strong>06</strong>.<br />
Tacita Dean<br />
Analogue. Drawings 1991–20<strong>06</strong><br />
Essay by Theodora Vischer<br />
Interview with the artist by Theodora Vischer<br />
Book design by Theodora Vischer, Bernard Fischer, Sarah <strong>Winter</strong><br />
152 pages, 158 illustrations<br />
7.25 x 9 in. / 18.5 x 23 cm<br />
Softcover<br />
US $ 30.00 / £ 17.50 / R 25.00<br />
ISBN 3-86521-289-1<br />
ISBN-13 978-3-86521-289-4<br />
German edition (ISBN 3-86521-327-8) distributed by GVA<br />
75
76<br />
Wendy Ewald<br />
Towards a Promised Land<br />
For more than thirty years, Wendy Ewald has put cameras in the hands of children, working alongside them to help<br />
record their dreams and realities in images and words. This life project has led Ewald all over the world – Colombia,<br />
India, South Africa, Holland, as well as numerous locations in the U.S – to work with children of diverse cultural<br />
backgrounds and situations.<br />
Towards a Promised Land is a commission by the London-based international arts organisation Artangel as the prologue<br />
to a promenade performance and film project by Penny Woolcock entitled The Margate Exodus. Ewald has worked with<br />
twenty-two children who migrated to the British seaside town of Margate from near and far. Some of these children have<br />
fled countries afflicted by war, poverty or political strife; others have been affected by the simple facts of domestic<br />
upheaval from one town to another. With Ewald, they have learned to explore their imaginations and express their<br />
different experiences of displacement and relocation in the search for a better life. Over the past eighteen months Ewald<br />
has photographed the children and interviewed them about their past and present lives, as well as teaching them how to<br />
take their own photographs. The resulting case studies capture the children at critical turning points in their lives. Ewald’s<br />
photographic portraits of the children have appeared as huge iconic banners in various locations around Margate,<br />
including along the historic Sea Wall; the children’s own projects and photographs formed an exhibition at a local<br />
Margate gallery. Towards a Promised Land, supported by Small Voice Foundation, touches some of the most salient<br />
issues confronting contemporary society today in the form of the displaced human being and his/her effect on the<br />
concept of nationhood. These issues are further explored in an innovatively conceived publication. Edited by Louise Neri,<br />
this “book of fragments” brings together Ewald’s case studies, the children’s own materials, and a host of interviews,<br />
writings and commentaries by prominent writers and artists on the contemporary search for a sense of place in a world<br />
of constant and turbulent change.<br />
Wendy Ewald has collaborated with communities of children for more than thirty years. She has received broad<br />
international recognition for her work in the form of dedicated exhibitions and commissions, as well as numerous<br />
awards including the prestigious MacArthur Fellowship in 1992. Currently she is a senior research associate at the<br />
Center for Documentary Studies and artist-in-residence at the John Hope Franklin Center, both at Duke University.<br />
Secret Games, a retrospective survey of her work was published in 2000 to accompany a touring exhibition.<br />
Co-published with Artangel and Creative Partnerships Kent.<br />
Wendy Ewald<br />
Towards a Promised Land<br />
Edited by Louise Neri<br />
Book design by Laurent Benner<br />
192 pages with 80 color and b/w plates<br />
8.25 x 10.25 in. / 21 x 26 cm<br />
Softcover<br />
US $ 30.00 / £ 14.99 / R 25.00<br />
ISBN 3-86521-287-5<br />
ISBN-13 978-3-86521-287-0<br />
77
78<br />
Diana Michener & Jim Dine<br />
3 Poems<br />
3 Poems celebrates the expressive relationship between black and white and color in the work of the artists Diana<br />
Michener and Jim Dine. The photographs and the poems can be read separately and collectively and this beautiful<br />
volume invites the viewer to explore the distinct rhythm of both elements and their lyrical overlapping.<br />
Diana Michener was born in Boston in 1940. She studied at the New School in New York City with Lisette Model and<br />
at a workshop in Yosemite with Ansel Adams. In 2001 the Maison Européenne de la Photographie exhibited a large<br />
survey exhibition of her work entitled Silence Me. A catalogue of the same name accompanied the exhibition. Michener<br />
lives and works in Paris and New York, and is represented by Pace/MacGill, New York. In 2005 <strong>Steidl</strong> published her<br />
awarded book Dogs, Fires, Me.<br />
Jim Dine was born in Cincinnati, Ohio in 1935. His art has been the subject of numerous individual and group shows<br />
and is in the permanent collections of museums around the world. <strong>Steidl</strong> has previously published his books Birds, The<br />
Photographs, so far (vol. 1–4), This Goofy Life of Constant Mourning, Drawings of Jim Dine, Some Drawings, Entrada<br />
Drive. This season <strong>Steidl</strong> is also publishing Jim Dine’s book Pinocchio.<br />
Co-published with Bose Pacia Gallery, New Delhi.<br />
Diana Michener & Jim Dine<br />
3 Poems<br />
Book design by Diana Michener, Jim Dine and Gerhard <strong>Steidl</strong><br />
96 pages with 23 tritone and 22 color plates<br />
7.5 x 11.25 in. / 19.5 x 28.5 cm<br />
Clothbound hardcover<br />
Every book with its own distinct Indian cloth<br />
US $ 30.00 / £ 17.50 / R 25.00<br />
ISBN 3-86521-259-X<br />
ISBN-13 978-3-86521-259-7<br />
79
80<br />
FRAME # 1<br />
Yearbook of the DGPh (German Photographic Society)<br />
The newly conceived Yearbook of the DGPh (German Photographic Society) dedicates its first edition to “collecting”.<br />
Well-known authors discuss the topic from both an institutional and personal viewpoint, elaborating the various<br />
discourses on the psychological aspects and strategies for collecting photography. Extensive reviews of important<br />
publications and exhibitions complete the Yearbook, which is directed at all those interested in photography.<br />
The Yearbook is dedicated to the photography collector and mentor Prof. L. Fritz Gruber, Honorary President of the<br />
DGPh who died last year, in memory of his own collection and his compelling personality.<br />
FRAME #1<br />
Yearbook of the DGPh (German Photographic Society)<br />
Essays by Bodo von Dewitz, Claudia Herstatt, Jan Ketz,<br />
Daniel Kothenschulte, Herbert Molderings, Christoph Ribbat<br />
and Wilfried Wiegand<br />
Book design by <strong>Steidl</strong><br />
200 pages, 30 tritone plates<br />
6.75 x 9.5 in. / 17 x 24 cm<br />
Softcover<br />
US $ 30.00 / £ 17.50 / R 25.00<br />
ISBN 3-86521-284-0<br />
ISBN-13 978-3-86521-284-9<br />
81
82<br />
Points of View<br />
Masterpieces of Photography and their Stories<br />
Edited by Annette and Rudolf Kicken and Simone Förster<br />
The triumphal march of photography has proceeded unhindered since the early 1970s. No other artistic medium has<br />
risen in the public’s esteem in quite the same way. The story of its success cannot be separated from the people who<br />
have worked toward achieving recognition of photography in the art world. They include the artists themselves,<br />
alongside curators, collectors, gallery owners, dealers, publicists and art lovers. With their expertise and personal<br />
passion, they have made photography a permanent fixture in the world of art.<br />
The Kicken Gallery is marking the occasion of its 30th anniversary by bringing together these people and protagonists<br />
supporters in an extraordinary compendium. More than 100 masterpieces from the history of photography, which the<br />
gallery have placed in private collections or museums, are presented with comments by more than 100 authors who<br />
have shaped the development of photography and its reception over the past 30 years. Covering outstanding works<br />
from Richard Avedon to Yva, from Eugène Atget to Umbo and from Bernd and Hilla Becher to Edward Weston, they tell<br />
us ‘their’ histories of photography.<br />
Brief profiles of photographers, authors and collections provide a look at the development of photography and a peek<br />
behind the scenes of the art business and make this volume an exclusive and attractive reference work on the history of<br />
the medium.<br />
Co-published with Gallery Kicken Berlin.<br />
Points of View<br />
Masterpieces of Photography and their Stories<br />
Edited by Annette and Rudolf Kicken and Simone Förster<br />
Introductory texts by Janos Frecot, Richard Pare,<br />
Wilfried Wiegand and Simone Förster<br />
Contributions by Werner Bokelberg, Peter Bunnell, Billy Corgan,<br />
Ute Eskildsen, Monika Faber, Zdenek Felix, Adam Fuss, Howard<br />
Greenberg, L. Fritz Gruber, Manfred Heiting, Hans P. Kraus,<br />
Robert Sobieszek, John Szarkowski, Anne Tucker, Thomas Walther,<br />
Thomas Weski and several others<br />
Book design by Gerhard <strong>Steidl</strong><br />
320 pages with 140 color and duotone plates<br />
9.5 x 11.75 in. / 24.5 x 30 cm<br />
Hardcover<br />
US $ 55.00 / £ 30.00 / R 45.00<br />
ISBN 3-86521-214-X<br />
ISBN-13 978-3-86521-214-6<br />
83
84<br />
Roman Signer<br />
Travel Photos<br />
Since the beginning of the 1970s, the renowned Swiss artist, Roman Signer, has created art which does not allow itself<br />
to be described in conventional terms. He has objectified works and actions and his reputation is based on a special<br />
interpretation of the concept of “sculpture”. He does not see sculptures as static objects, but rather malleable events<br />
affected by the elements and physical powers. In exhibitions Signer presents objects and installations like experimental<br />
set-ups or films, and photographs as documents of actions, which he has arranged in different locations and against<br />
the backdrop of changing scenery.<br />
What has neither been exhibited nor published is his collection of “Reisefotos,” which Signer took over a 20-year<br />
period whenever he came upon a particularly interesting situation on his travels. It could be another’s arrangement of<br />
objects, involuntary participation in some event, or a snapshot, all of which correlate with his own work in some way. The<br />
situation always takes on some illustrative or narrative element and sometimes a touch of humorous irony. This<br />
publication contains an extensive selection of photographs and presents a previously unknown yet characteristic side<br />
of Signer’s work.<br />
Roman Signer, born 1938 in Appenzell, Switzerland; 1959-66 worked as an architectural draughtsman; 1966<br />
Kunstgewerbeschule Zurich; 1969-71 Kunstgewerbeschule Luzern; from 1972 free-lance artist; from 1974 taught at<br />
the Schule für Gestaltung, Luzern; work mainly in the field of action and performance often using explosives; lives and<br />
works in St. Gallen, Switzerland. Signer’s “action sculptures” involve setting up, carrying out, and recording<br />
“experiments” or events that bear aesthetic results. Following carefully planned and strictly executed and documented<br />
procedures, the artist enacts and records such acts as explosions, collisions, and the projection of objects through<br />
space. Video works like “Stiefel mit Rakete” (Boot with Rocket) are integral to Signer’s performances, capturing the<br />
original setup of materials that self-destruct in the process of creating an emotionally and visually compelling event.<br />
Signer gives a humorous twist to the concept of cause and effect and to the traditional scientific method of<br />
experimentation and discovery, taking on the self-evidence of scientific logic as an artistic challenge.<br />
Co-published with Aargauer Kunsthaus, Aarau.<br />
Roman Signer<br />
Travel Photos<br />
Book design by Roman Signer, Peter Zimmermann and Gerhard <strong>Steidl</strong><br />
240 pages, full color printing<br />
9.5 x 11.75 in. / 24 x 30 cm<br />
Hardcover<br />
US $ 45.00 / £ 25.00 / R 38.00<br />
ISBN 3-86521-282-4<br />
ISBN-13 978-3-86521-282-5<br />
85
86<br />
Bettina von Zwehl<br />
Bettina von Zwehl has built an international reputation for her subtile and unnerving photographic portraits. Her concise<br />
series of images are highly controlled both in terms of their minimalist aesthetic and the exacting conditions she<br />
imposes on her subjects. Von Zwehl photographs them as they wake from deep sleep, hold their breath, recover from<br />
physical exertion, are drenched in rain or listen intently to music in a darkened room; orchestrating a climate in which the<br />
sitters relinquish control of the way they are represented. The portraits reveal not the conscious projection of an identity<br />
but a space between the subject’s private and thoughtful world and their public appearance. With their pared-down<br />
backgrounds and balanced compositions, von Zwehl’s portraits have the texture and poise of Renaissance paintings.<br />
Their stillness is arresting and demands the kind of attention and absorbtion from the viewer that we see depicted. We<br />
are directed to the slightest of details: blemishes on the skin, wrinkles, stray hairs, raised color in the cheeks, a striking<br />
variety of profiles. Surveyed in this comprehensive monograph, the fifth in the Photoworks Monograph series, Bettina<br />
von Zwehl’s work forms a delicate and exquisitely detailed catalogue of human physiognomy.<br />
Bettina von Zwehl was born in Munich in 1971 and received an MA from the Royal College of Art in 1999. Her work has<br />
been exhibited in a number of galleries in Europe and the USA. In 2002, von Zwehl participated in the exhibition “Reality<br />
Check: Recent Developments in British Photography and Video” that was jointly organized by the British Council and<br />
The Photographers’ Gallery, London. Her series Alina was exhibited at The Photographers’ Gallery, London in 2005.<br />
Her work was included in “Photography 2005” at Victoria Miro Gallery, London and has been shown at Lombard-Freid<br />
Fine Arts, New York and Galleria Laura Pecci, Milan.<br />
Co-published with Photoworks, Brighton.<br />
Bettina von Zwehl<br />
Essays by Roger Hargreaves, Darian Leader and Joanna Lowry<br />
an interview with the artist by Charlotte Cotton<br />
and an introduction by David Chandler<br />
Book design by SMITH<br />
112 pages with 60 color plates<br />
8.5 x 11.5 in. / 22 x 29 cm<br />
Clothbound hardcover with dust jacket<br />
US $ 35.00 / £ 19.99 / R 30.00<br />
ISBN 3-86521-288-3<br />
ISBN-13 978-3-86521-288-7<br />
87
88<br />
Tim Bavington<br />
Working with the strict format of the vertical stripe, Tim Bavington has explored multiple theories of organization as the<br />
basis for making paintings. From intuition and chance to architectural systems and information bar-coding. In recent<br />
years his interest has turned to music as a compositional system based on a theory of harmony. Bavington transliterates<br />
samples of music (riffs, guitar solos and entire songs) into stripes by combining the 12-tone musical chromatic scale<br />
with a 12-hue color palette. He then generates a limited color palette according to the hues that would logically<br />
correlate with the eight tones of musical escale, or key. Note lengths determine stripe widhts and octaves are indicated<br />
by relative brightness. Bavington uses a spray gun to apply paint to canvas in a manner that allows the lines to blend,<br />
bleed and fuse into a vibrant continuous field. While neither attempting to capture music with painting nor the “spirit of<br />
rock and roll”, the painter finds expression in the form of color and geometry.<br />
This publication surveys the development of Tim Bavington’s work over the past eight years. Emphasis is placed on<br />
work since 2002 for which the artist has utilized musical structure as the foundation for his paintings.<br />
Tim Bavington was born in Norwich, England, in 1966. He moved to the United States in 1984 and attended Art Center<br />
College of Design, in Pasadena, California. After moving to Las Vegas in 1993 he received an M.F.A. degree from the<br />
University of Nevada where he studied with art critic and curator Dave Hickey. Bavington’s paintings are included in a<br />
number of important collections such as the Museum of Contemporary Art in San Diego, The Albright-Knox Art Gallery<br />
in Buffalo, and the Museum of Modern Art in New York.<br />
Co-published with Mark Moore Gallery, Santa Monica.<br />
Exhibitions: Mark Moore Gallery, Santa Monica, California, May 20, 20<strong>06</strong><br />
Tim Bavington<br />
Essay by Dave Hickey<br />
Book design by Simon Johnston<br />
128 pages with 50 plates, full color printing<br />
11 x 8.25 in. / 28 x 21 cm<br />
Softcover<br />
US $ 40.00 / £ 24.00 / R 35.00<br />
ISBN 3-86521-285-9<br />
ISBN-13 978-3-86521-285-6<br />
89
90<br />
Martin d’Orgeval<br />
Pâques<br />
“I am everywhere, in the ocean which is my blood, in the hills which are my bones.” August Strindberg<br />
“I travelled to Easter Island in the winter. In July. The isolation, the climate and the elements as well as the statues, all<br />
created an oppressive atmosphere that is a long way from the tourist images. I wanted to face that, to grasp this uneasy<br />
mixture through my own contemplation. This book is above all an inner narrative.<br />
I walk, looking at the ground, photographing what is around me, what is given. No arranging, no composing. I record the<br />
signs offered by the landscape. Clues. They are like an image of my unease. Language of stones, of water, of earth,<br />
planar writing. Note it down, gather a vocabulary out of natural elements and human traces.<br />
Solitary objects, away from the world. Metaphors of torment. Found forms, ready-made sculptures. Born of time, of<br />
erosion, of rainwater, of atrophy. The work of the wind and water on volumes and surfaces. The forms of my sensations.<br />
A book made up of surfaces. Pages of matter. Fragments. The texture of a rock resonates in me like the vibration of a<br />
string. Roughness, buzzing, racket or, soon, respiration, silence, emptiness. I photograph the permanent. What has<br />
always been and will always be; what is constant.” Martin d’Orgeval<br />
Martin d’Orgeval was born in Paris in 1973, and lives and works in the city. While preparing a thesis in art history at the<br />
Sorbonne about Hans Arp, he worked as the assistant of François-Marie Banier, organising several of his exhibitions<br />
and editing many of his books, including Perdre la tête at the Villa Medici, Rome, in 2005 (<strong>Steidl</strong>). Pâques is his first<br />
exhibition and first book.<br />
Co-published with Palazzo Ruspoli, Rome.<br />
Martin d’Orgeval<br />
Pâques<br />
Essay by Martin d’Orgeval<br />
Book design by Martin d’Orgeval, Gerhard <strong>Steidl</strong> and Claas Möller<br />
120 pages with 66 tritone plates<br />
7.25 x 9.25 in. / 18.5 x 23.5 cm<br />
Softcover<br />
US $ 28.00 / £ 14.50 / R 20.00<br />
ISBN 3-86521-262-X<br />
ISBN-13 978-3-86521-262-7<br />
91
The photographic agency Magnum Photos releases M, a magazine devoted to photography and its<br />
issues. M takes photography away from its illustrative, commercial or merely journalistic functions, questioning the<br />
world and its documentary representation through a voluntarily hybrid vehicle: a magazine by its format, a review by its<br />
distribution, a book by its content. The idea is to create a collection of magazines, each issue born out of a renewed<br />
approach, developing the idea of “confrontation” in a variety of forms. Depending on the concept guiding each issue,<br />
M will consist of existing works and / or new productions, of Magnum photographers and / or artists external to the agen-<br />
cy. In the same spirit, personalities from other artistic fields (literature, cinema, visual arts…) will be invited to interve-<br />
ne in order to renew interpretations of the photographic works. The aim is to widen both our understanding of the<br />
works and our perception of the world. Bi-annual and bilingual, M will be internationally distributed through art books-<br />
hops.<br />
M highlights the extent and diversity of Magnum’s approaches to reality. The agency’s reputation is mainly due to<br />
its committed photographers operating in the field of current events, but Magnum photographers have in fact always<br />
oscillated between art and journalism, claiming the status of author and the subjective perspectives that result. As a<br />
place favouring independent creativity, Magnum Photos defends single visions that impose themselves through the<br />
long term. It’s within this logic that M falls within Magnum’s scope.<br />
Magnum Photos was founded in 1947 by Henri Cartier-Bresson, Robert Capa, George Rodger and David Seymour, four<br />
photographers who were convinced in the power of photography to document world events and to arouse awareness.<br />
By creating Magnum Photos they gave themselves complete independence, an element essential to their commitment.<br />
The choice and length of reportage, editing control, ownership of negatives and originals, management of copyright and<br />
distribution: all the attributes linked to the status of author were established from the very start. Attracted by this energy<br />
and sharing the same ethics, other photographers joined them, giving birth to one of the most original and prestigious<br />
creative co-operatives in the world. Present on all fronts, on all continents, they have captured with their unique vision<br />
the important events of our time, from conflicts to revolutions, as well as everyday moments and personalities from the<br />
world of art and culture. They have created icons, which, widely distributed in the international press, are now part of<br />
our collective memory. At once witness and artist, they claim this double identity, transcending the cleavages and codes<br />
of the editorial and contemporary art worlds. From Henri Cartier-Bresson’s “decisive moment” to Raymond Depardon’s<br />
“moments of weakness”, from Gilles Peress’ “documentary archaeology” to Lise Sarfati’s “inner landscapes”, from Josef<br />
Koudelka’s “constructed poems” to Martin Parr’s “consumerist clichés” Magnum photographers have proved to be<br />
witnesses and artists at the same time. Their unique vision asserts itself through books and exhibitions in turn inspiring<br />
younger photographers. Magnum Photos currently gathers 50 photographers, all members of the collective in equal<br />
part, completely in charge of their individual and collective destiny.<br />
Magnum Photos<br />
M3<br />
Magnum Photos<br />
M3<br />
M is a bi-annual journal which explores the role of photography beyond its usual illustrative, commercial or purely<br />
journalistic purposes by addressing the issue of its documentary value. Depending on the concept guiding each issue,<br />
M will juxtapose iconic images from the past with the recent work of Magnum photographers. Its aim is to question the<br />
status of the photographic document and unveil the scope and the diversity of the approaches to the real within<br />
Magnum Photos. <strong>Steidl</strong> published the second issue of M, M2 Repetitions, which features 17 works by Magnum<br />
photographers which explore the concept of repetition.<br />
M3, is in progress. It will be published in November 20<strong>06</strong>.<br />
English / French text<br />
With an introduction by Diane Dufour and Nicolas Guiraud<br />
Book design by Christophe Renard<br />
144 pages, full color printing<br />
7.75 x 11.5 in. / 20 x 29 cm<br />
Softcover<br />
US $ 25.00 / £ 12.50 / R 18.00<br />
ISBN 3-86521-286-7<br />
ISBN-13 978-3-86521-286-3<br />
Distributed in France by Inextenso<br />
93
Sweden at <strong>Steidl</strong><br />
A special season of books curated for <strong>Steidl</strong> by<br />
Greger Ulf Nilson / GUN<br />
Hasselblad Center and Moderna Museet<br />
Lars Tunbjörk, Midsummer, Rättvik, 1990<br />
Germany.<br />
The home of the<br />
Swedish<br />
photobook.<br />
November 9, 20<strong>06</strong> at Moderna Museet, Stockholm:<br />
Swedish book launch by <strong>Steidl</strong> Verlag
Swedish Books at <strong>Steidl</strong> <strong>Fall</strong> / <strong>Winter</strong> 20<strong>06</strong> Sweden is an under-developed country when it comestophotobooks. Not many people<br />
buy them. Not many people collect them. Not many people publish them.<br />
But there are all the more photographers who deserve to have one dedicated to them.<br />
Symbolically enough, no one in Sweden, including me, knows which was our<br />
Greger Ulf Nilson / GUN<br />
very first photobook. So it was not Johannes Jaeger’s 1866 Molins fontän. Nor was it<br />
Emma Schenson’s 1865 documentation of Linnaeus’ Hammarby. In fact it was<br />
Christer Strömholm In Memory of Himself<br />
C.F. Lindberg’s 1864 luxury edition, with tipped-in albumen prints of suits of armour<br />
and weapons in the royal collections. Nevertheless, the contents of all three books<br />
Christer Strömholm Poste Restante<br />
are dead representations of dead objects.<br />
Lars Tunbjörk I Love Borås<br />
If we require of a photobook that its contents be packed with a certain measure of<br />
JH Engström Haunts<br />
aesthetics and self-awareness, we have to look considerably beyond that era to find the<br />
first Swedish example. That doesn’t make it easier to decide exactly which title it<br />
should be. All suggestions gratefully accepted.<br />
It is nevertheless clear that the Swedish photobook has been leading a dwindling<br />
existence over the past 35 to 40 years (and that it has never known a golden age).<br />
The most common explanations? We’re such a small country! We’re so far from the<br />
centre of events! Our climate is so harsh! And let’s not even talk about the language!<br />
All true, but this didn’t stop the Hasselblad camera or the Swedish Sin from taking<br />
Håkan Ludwigson Taken out of Context<br />
over the world during the same period.<br />
How come it is only small publishers or small galleries, with dedicated, fiery souls<br />
(or the photographers themselves) who publish photobooks in Sweden? Large Swedish<br />
publishers, in any event, don’t. Perhaps they take it for granted that there is no<br />
interest in Swedish photography, either in Sweden or in the rest of the world. But how<br />
do you know if you haven’t tried?<br />
Questions, questions, questions. There is one thing we know for sure: in keeping<br />
Paul McCarthy Head Shop. Shop Head (Works 1966 – 20<strong>06</strong>)<br />
with the old paradox that “Most Swedish heart attacks occur in Mallorca”, the latest<br />
Kasimir Malevich Black and White. Suprematist Composition (1915)<br />
Swedish photobook (and eight others besides) will shortly be published by a major<br />
German publisher. A circumstance we Swedes should both be ashamed and proud of.<br />
Swedish Books at <strong>Steidl</strong> Spring / Summer 20<strong>07</strong><br />
Mikael Jansson Speed of life Maja Forslund AKT Gerry Johansson Kvidinge Anders Petersen City Diaries JH Engström Where I’m from<br />
Greger Ulf Nilson
98<br />
Christer Strömholm<br />
In Memory of Himself<br />
With books such as In Memory of Himself and Poste Restante, and as the leader of the legendary academy of<br />
photography “Fotoskolan”, Christer Strömholm became one of the most influential post war photographers. In many<br />
ways Strömholm differed from most other photographers, for instanc he did not mind being the object of a photograph.<br />
In fact, he enjoyed it. While Strömholm has now passed away, he lives on in a large number of photographic portraits of<br />
him made by some of Europe’s finest photographers. As a homage to Christer, many of these pictures have been<br />
compiled in this book.<br />
Christer Strömholm, born 1918 in Stockholm, studied painting in Dresden and Stockholm, before discovering<br />
photography whilst studying in Paris after the war. He joined Otto Steinert’s Fotoform group and whilst working and<br />
travelling through France, Spain, Japan, India, America and Africa, he developed his own brand of ‘subjective<br />
photography’. During this time he began teaching and became the father figure to major Swedish photographers of the<br />
late twentieth century. He was appointed Professor of Photography in 1993 and was awarded the Hasselblad Award in<br />
1997. He died on January 11, 2002.<br />
Christer Strömholm<br />
In Memory of Himself<br />
Text by Gösta Flemming<br />
Edited by Greger Ulf Nilson and Lars Hall<br />
Book design by Lars Hall and Greger Ulf Nilson<br />
144 pages with 100 duotone and color plates<br />
8 x 9.75 in. / 20.5 x 25 cm<br />
Hardcover with a tipped-in selfportrait plate<br />
US $ 45.00 / £ 25.00 / R 38.00<br />
ISBN 3-86521-298-0<br />
ISBN-13 978-3-86521-298-6<br />
99
100<br />
Christer Strömholm<br />
Poste Restante<br />
Originally published in 1967, Poste Restante has become one of the most collectible photography books from the midtwentieth<br />
century, ranking alongside the better known publications of Robert Frank and Ed van der Elsken. Strömholm’s<br />
photographic autobiography details his extensive travels across the globe in a book constructed as an Existentialist<br />
diary. Juxtaposing the urbane and the macabre, combining portraiture and street scenes with abstract photographic<br />
fragments, the book uses metaphor and visual pun in an unrelenting stream of consciousness. In its sequence and<br />
design it is a book which pre-figures much of contemporary photographic publishing and art practice.<br />
Christer Strömholm, born 1918 in Stockholm, studied painting in Dresden and Stockholm, before discovering<br />
photography whilst studying in Paris after the war. He joined Otto Steinert’s Fotoform group and whilst working and<br />
travelling through France, Spain, Japan, India, America and Africa, he developed his own brand of ‘subjective<br />
photography’. During this time he began teaching and became the father figure to major Swedish photographers of the<br />
late twentieth century. He was appointed Professor of Photography in 1993 and was awarded the Hasselblad Award in<br />
1997. He died on January 11, 2002.<br />
Christer Strömholm<br />
Poste Restante<br />
Facsimile reprint of the original book first printed in 1967<br />
Original text by Tor-Ivan Odulf<br />
Original book design by Christer Strömholm, Tor-Ivan Odulf<br />
and Erik Pettersson<br />
120 pages with 96 tritone plates<br />
8 x 10 in. / 20.5 x 25 cm<br />
Hardcover with a booklet (containing the English translation<br />
of the original text) in a handmade collector’s box<br />
Limited edition of 1000 numbered copies<br />
US $ 100.00 / £ 60.00 / R 85.00<br />
ISBN 3-86521-220-4<br />
ISBN-13 978-3-86521-220-7<br />
101
102<br />
Lars Tunbjörk<br />
I Love Borås<br />
I Love Borås is Lars Tunbjörk’s document of an aimless journey around Sweden between 1988 and 1995.<br />
Supermarkets, parties, small town streets, amusement parks, gas stations, TV-shows, landscapes, food. During that<br />
time Tunbjörk was working on his series Landet utom sig / Country Beside Itself, but these images were not used in<br />
that series because they didn’t fit, they were too ugly, too beautiful or too silly. Together they show a darker and more<br />
hysteric view of modern western society and Sweden during the economic recession of the early nineties.<br />
Lars Tunbjörk was born 1956 in Borås on the Swedish westcoast and now lives and works in Stockholm. He is one of<br />
Swedish most respected photographers. His personal projects are exhibited worldwide. He has published seven<br />
monographs, among them Landet utom sig / Country Beside Itself (1993), Office (2001), Home (published by <strong>Steidl</strong><br />
in 2002) and Dom alla (2003). His work deals with everyday life and the most common things around us. He is a<br />
member of the picture agency VU in Paris.<br />
Lars Tunbjörk<br />
I Love Borås<br />
Edited by Lars Tunbjörk and Greger Ulf Nilson<br />
Book design by Greger Ulf Nilson<br />
168 pages with 175 color plates<br />
10.75 x 13.5 in. / 27.4 x 34.4 cm<br />
Hardcover<br />
US $ 90.00 / £ 50.00 / R 75.00<br />
ISBN 3-86521-296-4<br />
ISBN-13 978-3-86521-296-2<br />
103
104<br />
JH Engström<br />
Haunts<br />
Haunts can be seen as part two of a trilogy which began with Trying to Dance, JH Engström’s artist’s book project<br />
which was short-listed for the 2005 Deutshe Börse Photography Prize. At the back of Trying to Dance JH Engström<br />
wrote “I’m always looking for presence. Whenever I try, my doubts get unmasked….” These doubts and questions are<br />
prelevant in Haunts, but in this volume Engström focuses more on public spaces and life in the streets.<br />
At the center of JH Engström’s pictures is a strong feeling of being in an endless present tense. The confrontation<br />
between “now” and the photographer’s memories is inevitable. And he doesn’t try to separate emotions from<br />
objectivity. His images embody their questions.<br />
JH Engström was born in 1969 in Karlstad, Värmland, Sweden. He moved to Paris with his parents at the age of 10 and<br />
back to Sweden when he was 13, but spent a lot of his adolescence in Paris. In 1991 he moved back to Paris and<br />
worked as assistant to fashion photographer Mario Testino. In 1993 he went back to Stockholm to start working as<br />
assistant to documentary photographer Anders Petersen. In 1997 he graduated from the photography and film<br />
department at Gothenburg University. The same year he published his first book, Shelter. In 1998 he moved to<br />
Brooklyn, New York and started work on Trying to Dance. In 2000 he travelled throughout Europe and then moved<br />
to his native Värmland where he continues working on the Trying to Dance project. He has received numerous grants<br />
and awards since 1994. His work is held in collections both in Europe and USA. He also leads workshops regularly.<br />
JH Engström lives and works in Skåne, in the south of Sweden.<br />
Exhibition: Galerie VU, Paris, September 20<strong>06</strong>.<br />
JH Engström<br />
Haunts<br />
Edited by JH Engström and Greger Ulf Nilson<br />
Book design by Greger Ulf Nilson<br />
216 pages with 127 color and duotone plates<br />
9.5 x 12 in. / 24.2 x 30.5 cm<br />
Clothbound hardcover with dust jacket<br />
US $ 65.00 / £ 35.00 / R 50.00<br />
ISBN 3-86521-297-2<br />
ISBN-13 978-3-86521-297-9<br />
105
1<strong>06</strong><br />
Håkan Ludwigson<br />
Taken out of Context<br />
Swedish born Håkan Ludwigson is one of the select star photographers of Condé Nast Traveler. His name is invoked<br />
with particular respect on New York’s trend-conscious media scene, a respect that Ludwigson has earned through 16<br />
years of successful photography. Technical perfection and visual brilliance have been the hallmark of his picture essays<br />
for what is THE travel magazine.<br />
In Taken out of Context Ludwigson’s photography shows that the boundaries between the medium’s various genres are<br />
becoming increasingly hard to pin down. The book interweaves advertising photographs made for leading car<br />
companies with documentary shots taken for Condé Nast Traveler in the visual language that Ludwigson shares with<br />
American art photographers such as William Eggleston, Joel Meyerowitz and Stephen Shore. Ultimately Ludwigson<br />
displays in this book a healthy questioning attitude to the global adventure industry that he has helped to create through<br />
his visual art.<br />
Håkan Ludwigson was born in 1948 on the Swedish west coast in the small town of Vänersborg where he started his<br />
career as a press photographer at the local newspaper in 1965. He later made a name for himself through magazine<br />
work for European publications and advertising assignments for leading car companies, mixed with personal projects.<br />
In 1988 Ludwigson became a contract photographer for Condé Nast Traveler in New York. Today he is seen as one of<br />
the most versatile photographic artists at the magazine with a personal vision that has earned him followers all over the<br />
world.<br />
Co-published with , Gothenburg.<br />
Håkan Ludwigson<br />
Taken out of Context<br />
Introduction by Harold Evans and an essay by Hasse Persson<br />
Book design by Studio Achermann<br />
176 pages with 89 color plates<br />
11.25 x 14 in. / 28.8 x 35.5 cm<br />
Clothbound hardcover in a slipcase<br />
US $ 80.00 / £ 42.00 / R 65.00<br />
ISBN 3-86521-082-1<br />
ISBN-13 978-3-86521-082-1<br />
1<strong>07</strong>
Paul McCarthy<br />
Head Shop. Shop Head (Works 1966 – 20<strong>06</strong>)<br />
During the summer of 20<strong>06</strong> Moderna Museet will present the largest and most comprehensive survey of American<br />
artist Paul McCarthy’s work from 1966 to 20<strong>06</strong>, including some of his most famous works and recent works that have<br />
not previously been shown. Although he has been active for almost 40 years, he did not become known to the general<br />
public until the early 1990s. In his work McCarthy undertakes a critical processing of myths and stereotypes generated<br />
by American popular culture and how these, often embellished images collide with a reality filled with violence,<br />
pornography and madness. McCarthy has worked in a variety of techniques, including installation, sculpture, film and<br />
photography. The exhibition will contain work from the artist's entire career and will include examples of all aspects of<br />
his work. This book is the catalogue accompanying the exhibition.<br />
Paul McCarthy, born in Salt Lake City in 1945, lives and works in Los Angeles, California. McCarthy is one of the most<br />
renowned and influential artists of his generation. His art is visceral, humorous and disturbing, dealing with the hidden,<br />
darker side of western culture. He has worked in a wide range of media but is best known for his performance-based<br />
videos and video installations, and for his sculptures. Recent solo exhibitions include LaLa Land Parody Paradise,<br />
Haus der Kunst, Munich, Whitechapel Art Gallery, London 2005-20<strong>06</strong>, Brain Box Dream Box, Van Abbemuseum,<br />
Eindhoven 2004, CAC Malaga, Piccadilly Circus, Hauser & Wirth Gallery, London, Paul McCarthy at Tate Modern,<br />
London, 2003, and Paul McCarthy – Clean Thoughts, Luhring Augustine, New York.<br />
Exhibition: Moderna Museet, Stockholm 17 June – 3 September 20<strong>06</strong>.<br />
Co-published with , Stockholm.<br />
Paul McCarthy<br />
Head Shop. Shop Head (Works 1966 – 20<strong>06</strong>)<br />
Edited by Magnus af Petersens<br />
Essays by Magnus af Petersens, Iwona Blazwick,<br />
Thomas McEvilley, and an interview with the artist<br />
Book design by <strong>Steidl</strong><br />
688 pages, full color printing<br />
6.5 x 9.25 in. / 17 x 23.5 cm<br />
Sewn softcover<br />
US $ 55.00 / £ 30.00 / R 42.00<br />
ISBN 3-86521-300-6<br />
ISBN-13 978-3-86521-300-6<br />
109
110<br />
Kasimir Malevich<br />
Black and White. Suprematist Composition (1915)<br />
The extraordinary suprematist painting “Black and White. Suprematist Composition” by Kasimir Malevich (1879-1935)<br />
was donated to Moderna Museet in February 2004: “The addition of one single painting can do wonders for a<br />
collection. With this fantastic donation of a classic suprematist painting by Malevich, Russian avant-garde art will be<br />
excellently represented at Moderna Museet,” said Lars Nittve, Director of Moderna Museet.<br />
Andrei Nakov, born in 1941 in Sofia, Bulgaria, is an acclaimed art historian. As an author of numerous works on<br />
Malevich like Malevitch écrits and Kazimir Malewicz: Catalogue raisonné, he has gained deep knowledge of the<br />
subject. He has also published numerous monographs and exhibition catalogues on Russian non-objective art, Dada<br />
and Constructivism, and Western modern art. Nakov lives and works in Paris.<br />
Co-published with , Stockholm.<br />
Kasimir Malevich<br />
Black and White. Suprematist Composition (1915)<br />
Essay by Andrei Nakov and a preface by Lars Nittve<br />
Book design by <strong>Steidl</strong><br />
160 pages with 50 color plates<br />
5 x 8.25 in. / 13 x 21 cm<br />
Hardcover<br />
US $ 30.00 / £ 17.50 / R 25.00<br />
ISBN 3-86521-299-9<br />
ISBN-13 978-3-86521-299-3<br />
111
Great photography is like sentences and syllables of prose and poetry. It can<br />
have the same depth. “Make me a picture of your world” should always be a<br />
publisher’s first line…<br />
Photography today, more than ever, enlarges not only our way of looking at<br />
things, but it also influences our minds. It can make us homesick for unknown<br />
places. That’s also why books of photography are becoming more and more<br />
important in modern publishing.<br />
We can witness life through other eyes and get the opportunity to perceive<br />
visions of other worlds and circumstances of life. A great book of photography<br />
should be a perfect experience of recollection and successive results of visual<br />
faculties. It should give us a kind of subjugating consciousness. The vision of<br />
physical pleasure, of passion, or even pain may constitute the value of such a<br />
book.<br />
Every subject, even the most repellent, can be treated with art and become<br />
a work of beauty.
114<br />
Fashionation: welcome to the greatest show on EARTH.<br />
Ruben Toledo<br />
FASHIO-N-ATION<br />
For Ruben Toledo, Fashion is much more than just a luxury commodity – it sells dreams by the yard, has magical<br />
anticipatory powers, is clairvoyant and is able to morph at a moments notice. This collection of over 150 drawings,<br />
water colors and pen and ink portraits by artist Toledo explores with his typical Cuban Black Humor and sweetly cynical<br />
New Yorker’s eye the ever changing landscape of fashion and the body language of style.<br />
This highly personal look into Toledo’s brain unwraps the layers of mystery and strange associations that give fashion<br />
its enduring and enigmatic power. Peek inside the workrooms of the Couture ateliers and bohemian studios; visit swanky<br />
temples of high fashion retail and witness the life and death of a trend. This cabinet of curiosity contains the satirical<br />
observations that together form a map of Toledo’s favorite state of mind and destination: FASHIO-N-ATION. For him,<br />
fashion is an old tree that loves to show off its brightest flowers, but it also has very long roots that penetrate DEEP into<br />
the underworld – into the catacombs of memory, the labyrinth of obsession and fixations.This duality of fashion is one of<br />
the fascinating ingredients woven together that form this visual love poem to the world of fashion.<br />
Ruben Toledo was born in Havana, Cuba in 1961 and is at once a painter, sculptor, illustrator, fashion chronicler and<br />
critic, and surrealist. He has designed mannequins, store windows, award statuettes, scarves, fabrics, dishes and<br />
carpets. He has painted murals, portraits, album covers and barns. He has also created witty and incisive illustrations<br />
for the top fashion magazines and journals from around the world, among them The New Yorker, Vogue, Harper’s<br />
Bazaar, Town & Country, Paper, Visionaire, Interview and The New York Times. Additionally, he is the illustrator of<br />
Nordstrom’s national designer ad campaign. Toledo’s work has been on exhibit throughout the world, including the<br />
Metropolitan Museum of Art in New York City. He is the author of Style Dictionary a collection of his drawings and<br />
watercolors. His collaboration with his fashion designer wife, Isabel Toledo, was the subject of both a book and a<br />
museum exhibition titled Toledo/Toledo: A Marriage of Art and Fashion at The Museum at the Fashion Institute of<br />
Technology in New York City, where they both reside and work. Ruben Toledo recently completed his first film – an<br />
animated History of French Fashion entitled Fashionation.<br />
Ruben Toledo<br />
FASHIO-N-ATION<br />
Introduction by Simon Doonan<br />
Essays by Valerie Steele and Richard Martin among others<br />
Book design by Ruben Toledo and Gerhard <strong>Steidl</strong><br />
96 pages, illustrated throughout<br />
14.25 x 18 in. / 36.2 x 45.8 cm<br />
Clothbound Hardcover with dust jacket<br />
Limited edition of 1000 signed and numbered copies<br />
US $ 360.00 / £ 200.00 / R 300.00<br />
ISBN 3-86521-301-4<br />
ISBN-13 978-3-86521-301-3<br />
115
116<br />
Grace Coddington and Didier Malige<br />
The Catwalk Cats<br />
For over 20 years, Grace Coddington and Didier Malige have lived together with their family of cats while working in<br />
fashion. This book records their relationship through photographs (Malige's) and drawings (Coddington's) that<br />
entertainingly document their private lives and their work through the eyes of their cats: Henri, an old school catnipaddicted<br />
surfing chartreuse; his sister Coco, a couture-obsessed chartreuse on a sashimi diet, and her pal Baby, who<br />
doesn't quite share Coco's discipline and will, sadly, never be a sample size. Then there's Puff, a mixed up long-hair<br />
from Harlem whose curiosity (anyone for fortune telling at Dave?) hasn't killed him yet; and Bart, the Persian youngster<br />
who would rather sit roof top terrace than front row. The Catwalk Cats, a visual diary introduced by Puff, gives us four<br />
seasons in the life of this fabulous furry brigade: the collections, the campaigns, the catfights. At once delightful and<br />
dishy, it is both a convincing argument about the fundamental similarities between felines and fashionistas, and a wonderful<br />
and moving meditation on love and family.<br />
Grace Coddington is Creative Director of American Vogue. A former model, she served as Fashion Editor and Fashion<br />
Director at British Vogue from 1968-1986 and Design Director of Calvin Klein in 1987. She is the author of Grace:<br />
Thirty Years of Fashion (7L, 2003).<br />
Didier Malige was inspired as a boy to become a hairstylist by grooming the cats and dogs at his mother's veterinary<br />
clinic. In the mid 60s he joined Carita as an apprentice, at the time Paris' trend setting salon. He then left to collaborate<br />
with Jean Louis David styling hair on fashion shoots. Working alongside several renowned fashion photographers<br />
influenced him to photograph his own growing family of cats.<br />
Grace Coddington and Didier Malige<br />
The Catwalk Cats<br />
Drawings by Grace Coddington<br />
Photographs by Didier Malige<br />
Art Director Danko Steiner<br />
Introduction by Sally Singer<br />
Edited by Michael Roberts<br />
188 pages with 31duotone plates and 136 drawings<br />
6.5 x 9.5 in. / 17 x 24 cm<br />
US $ 32.00 / £ 20.00 / E 30.00<br />
ISBN 3–86521–344–8<br />
ISBN-13 978-3-86521-344-0<br />
117
118<br />
Tacita Dean<br />
Wolfgang Tillmans<br />
Jason Schmidt<br />
Artists<br />
Artists is an ambitious exercise in catalogue some of the most important and exciting artists working today. For the past<br />
six years Jason Schmidt has photographed international contemporary artists in their studios, galleries, biennales and<br />
wherever the artist happens to be making work. More than a series of classic portraits, Schmidt’s insistence in<br />
photographing the artists at work or in their environments allow for an intimate glimpse into the creative processes<br />
behind the artworks themselves.<br />
Additionally, in texts which accompany the photographs, the artists speak in their own words, putting themselves in the<br />
context of a particular place and within the larger picture of a personal body of work.<br />
Artists documents the incredibly heterogeneous practices of comtemporary artists today including painters (Ed<br />
Ruscha, Tracey Emin), photographers (Roe Ethridge, Andreas Gursky), Video artists (Aida Ruilova, Doug Aitken),<br />
sculptors (Liz Larner, Marc Quinn), installation artists (Maurizio Cattelan, Gregor Schneider), and artists who defy the<br />
categorical imperative of medium (Matthew Barney, Sophie Calle, Paul McCarthy, Richard Prince).<br />
There is no pretense toward forging a coherent international contemporary art scene. Each ot the 125 artist portraits<br />
collected here is its own self-contained world, specific to the artist’s mythology and methodology that inform and<br />
ultimately become their art.<br />
Jason Schmidt graduated from Columbia University in 1991 with a degree in Art History. His photographs have<br />
appeared in The New York Times Magazine, Vanity Fair, Harper’s Bazaar, The New Yorker, and V Magazine among<br />
others. He lives and works in New York City. Artists is his first book.<br />
Jason Schmidt<br />
Artists<br />
Edited and with a foreword by Alix Browne and Christopher Bollen<br />
Book design by Greg Foley<br />
156 pages with 120 color plates<br />
12 x 12.2 in. / 30 x 31 cm<br />
Clothbound Hardcover<br />
US $ 65.00 / £ 35.00 / R 50.00<br />
ISBN 3-86521-302-2<br />
ISBN-13 978-3-86521-302-0<br />
119
120<br />
Laurie Anderson<br />
Night Life<br />
Laurie Anderson<br />
Night Life<br />
“For the last year I’ve been on the road with a solo performance. Every night another theater, another hotel room.<br />
Gradually my dreams became wild, vivid, more and more relentless. Headless singing squirrels, vast empty spaces,<br />
bizarre clatterings and invasions. My own dark and private theatre was slowly taking over. I began to draw these dreams<br />
literally out of self-defense. I kept the computer drawing tablet next to the bed and tried to capture them in their most<br />
raw state.<br />
After many months of drawing my dreams I was drawn into the odd language and logic of the images. Often I drew my<br />
own head in the foreground. What did that mean? Who’s watching who? Often the dreams were alternate versions of<br />
the day’s events. Sometimes they were heavily charged atmospheres, sensations, emotions. Depictions of<br />
bewilderment, ecstasy, weightlessness, abandonment, freedom.” Laurie Anderson<br />
Night Life is Laurie Anderson’s diary of dreams and their literal recreation as works of art. In her new book Anderson<br />
uses the language of dreams to investigate the dream itself. The resulting pieces drawings and text, draw on her work<br />
in theater, lyrics and narrative.<br />
Laurie Anderson is one of the seminal artists of our time. Her work includes a wide variety of media: performance, film,<br />
music, installation, writing, photography and sculpture. Over the past thirty years, she has created a number of<br />
groundbreaking works ranging from spoken word performances to elaborate multimedia events. She has published six<br />
books, produced numerous videos, films, radio pieces and original scores of dance and film. Recent work includes her<br />
2002-2004 artist-in-residence at NASA, participation on the team that created the 2004 Olympic Games in Athens, a<br />
series of audio-visual installations for World Expo 2005 in Aichi and a series of programs for French radio. The film she<br />
made for Expo 05, Hidden Inside Mountains, is featured in several current film festivals.<br />
Book design by Laurie Anderson, Claas Möller and Gerhard <strong>Steidl</strong><br />
96 pages, full color printing<br />
6.25 x 9.25 in. / 16 x 23.5 cm<br />
Flexible clothbound hardcover<br />
US $ 35.00 / £ 20.00 / R 30.00<br />
ISBN 3-86521-339-1<br />
ISBN-13 978-3-86521-339-6<br />
121
122<br />
Autoroute Pyong Yang – Kaesong 3.02 pm.<br />
Monsieur Lée me dit que la longueur de la route est de 54 km et la largeur de 100 m.<br />
Patrick Swirc<br />
DPRK<br />
“It is impossible to travel alone in North Korea. As soon as you arrive, two guides pick you up. In reality, they act like<br />
policemen. They look at each of your actions, each of your movements; you are not allowed to do anything without them.<br />
They prevent you from speaking with anybody. As my two guards said it was forbidden to take any photographs, I<br />
decided to photograph them and to write their comments.” Patrick Swirc<br />
DPKR is an unusual travelogue, depicting Patrick Swirc’s difficult journey through North Korea. Whilst it appears to<br />
depict only that constricted version of the country he was ‘allowed’ to see, his photographs in fact offer a seering insight<br />
into a country little documented by Western photographers.<br />
Patrick Swirc was born in Saint-Etienne and studied at the Vevey School of Photography in Switzerland before<br />
following a striptease artist to Pigalle. In Paris he began making portraits and worked as a press photographer,<br />
including journals such as Libération, Elle, Télérama, Studio and Time Magazine. Since abandoning that work he has<br />
pursued his obsession with distant parts of the world.<br />
Patrick Swirc<br />
DPRK<br />
Book design by Patrick Swirc<br />
32 pages with 29 color plates<br />
17.75 x 13.75 in. / 45 x 35 cm<br />
Clothbound hardcover<br />
US $ 90.00 / £ 50.00 / R 75.00<br />
ISBN 3-86521-304-9<br />
ISBN-13 978-3-86521-304-4<br />
123
124<br />
Inez van Lamsweerde & Vinoodh Matadin<br />
Pretty Much Everything (Vol. 1)<br />
Pretty Much Everything is Inez van Lamsweerde and Vinoodh Matadin’s first anthology of their 20-year collaboration.<br />
Their selection of over 600 of their photographs will be published in two volumes. The first volume is launched in the fall<br />
of 20<strong>06</strong>, followed by volume II in spring 20<strong>07</strong>, and together they present the duo’s creative review of their art, fashion<br />
and portrait imagery.<br />
Freed from the context of magazine editorial, advertising or gallery installation, van Lamsweerde and Matadin connect<br />
and sequence the breadth of their innovative photography to offer a new understanding of their vision. “It is a reflection<br />
of how all our photographs have been living together in our heads for the past twenty years.”<br />
The first volume includes a special collaboration with van Lamsweerde and Matadin’s long-standing creative partners,<br />
graphic design duo Mathias Augustyniak and Michael Amzalag of M/M Paris. M/M Paris’ exceptional design for the two<br />
volumes includes a section that translates the artists’ most recent exhibition at Matthew Marks Gallery in New York City,<br />
entitled The Now People Part 2: Life on Earth into a book experience.<br />
The introduction to Pretty Much Everything is a short story by acclaimed sci-fi writer Bruce Sterling inspired by van<br />
Lamsweerde and Matadin’s photographs.<br />
“Our dear Marcel – what can I say of this brilliantly gifted being? Marcel printed our newsletter, made of flammable ink<br />
on explosive flashpaper. Marcel printed only the hottest source-material: spycam stills. Tapped phone calls. Insider<br />
trading tips. All the stolen specs for next season’s couture. Marcel’s publications literally burnt the skin off the fingers of<br />
his readers. Forced to print in bulk to meet ever-growing prurient demands, Marcel had accidentally blown both his<br />
hands off. Thanks to Sighmaster, Marcel now wore his late mother’s hands.”<br />
Exhibitions: Art Unlimited, Basel Art Fair, June 20<strong>06</strong>.<br />
Inez van Lamsweerde & Vinoodh Matadin<br />
Pretty Much Everything (Vol. 1)<br />
Book design by M/M Paris<br />
320 pages with 300 color plates<br />
11.75 x 11.75 in. / 29.7 x 29.7 cm<br />
Hardcover<br />
US $ 80.00 / £ 45.00 / R 65.00<br />
ISBN 3-86521-305-7<br />
ISBN-13 978-3-86521-305-1<br />
125
126<br />
David Parker<br />
Sirens<br />
“Then all at once the wind fell, and a calm came over all of the sea, as though some power lulled the swell.”<br />
Homer. The Odyssey<br />
When Odysseus instructed his crew to lash him to the mast of their ship, he was preparing himself to hear the sirens’<br />
song, ‘the song of the universe’. Their sweet singing, claims of omniscience and power to calm the waters, unfailingly<br />
lured sailors off course to their destruction. Odysseus plugged his crew’s ears with beeswax, so that he alone could<br />
savour the seductive laments of the sirens and experience a mystical encounter with the sublime.<br />
Dreams and the sea are the closest we come to other worlds, and the solitary sea-stacks that David Parker has<br />
photographed, or sirens, as they appear to him, stand as guardians on the threshold of both worlds. For Parker the<br />
sirens’ song is a call to contemplation, not action, and these images chart his fascinated encounters with an enchanted<br />
world of forgotten archetypes. His pictures are intended, siren-like, to lure the viewer into a mysterious abstract world,<br />
both concrete and ineffable.<br />
Myths and legends have often been inspired and shaped by geologic landforms and similarly, David Parker uses the<br />
natural world as an arena for the personal exploration of mythic, symbolic and metaphoric motifs, a theme which he<br />
previously developed in The Phenomenal World (an award winning book published by Edition 7L in 2000).<br />
Ultimately the sirens song is the song of art, “which charms and fascinates us into the ego-diminishing state of<br />
aesthetic enchantment, perhaps the goal and consolation of all art”.<br />
David Parker was born in 1949 in England and was trained as an engineer and illustrator, before moving into<br />
photography. He has published two monographs, and continues to make his own large scale toned silver-gelatine<br />
prints.<br />
Exhibitions: Robert Koch Gallery, September – November, 20<strong>06</strong>, Michael Hoppen Gallery, October – December, 20<strong>06</strong><br />
David Parker<br />
Sirens<br />
With an essay by Marina Warner<br />
Book design by David Parker<br />
92 pages with 38 quadrotone plates<br />
16.5 x 11.25 in. / 42 x 28.5 cm<br />
Clothbound hardcover<br />
US $ 85.00 / £ 48.00 / R 70.00<br />
ISBN 3-86521-3<strong>06</strong>-5<br />
ISBN-13 978-3-86521-3<strong>06</strong>-8<br />
127
128<br />
Bodo von Dewitz (ed.)<br />
Beauty, Power, Vanity<br />
Photographs from the Prince Ernst August of Hanover Collection<br />
Royal collections have always been a powerful means of self-promotion. For centuries painting was largely sustained<br />
by royal patronage and facilitated the permanent and glamorous representation of eminence. Then along came photography,<br />
which immediately assumed the same function, and portraits of nobility lost their exclusivity when everyone<br />
could afford photographs.<br />
Nonetheless the royal court around the Welfen dynasty in Hanover let itself be photographed repeatedly. The royals<br />
contracted photographers, gave away pictures and in return received photographs which they placed in albums and<br />
portfolios until they had an extensive collection. This collection, still in the possession of Prince Ernst August of<br />
Hanover, survived the collapse of the royal families and is contained in this book.<br />
Photographs served nobility not least of all by safeguarding their dominance. Family relations were politically significant<br />
European networks and photography consolidated those relationships. This collection of photographs is an informative<br />
historical source and a spirited reflection of a lost epoch.<br />
Bodo von Dewitz, born in 1950, has been the director of the Agfa Foto-Historama at the Museum Ludwig, Cologne<br />
since 1985.<br />
Beauty, Power, Vanity<br />
Photographs from the Prince Ernst<br />
August of Hanover Collection<br />
Edited and with an essay by Bodo von Dewitz<br />
Book design by Gerhard <strong>Steidl</strong><br />
224 pages with 180 color plates<br />
9.4 x 12.9 in. / 24 x 33 cm<br />
Clothbound hardcover with dust jacket<br />
US $ 60.00 / £ 35.00 / E 48.00<br />
ISBN 3–86521–235–2<br />
ISBN-13 978-3-86521-235-1<br />
129
from Collier Schorr Neighbors<br />
Three very different bodies of work in three very different books, each an exercise in reminiscence,<br />
each an attempt to map some personal or communal history by reference to a place.<br />
Collier Schorr's Neighbors is the first in a long term series of publications in which she explores her<br />
on-going relationships with the people, sites and histories of a small south German province.<br />
Adam Broomberg & Oliver Chanarin also explore a history that is partly their own, manifesting an illusory<br />
Israeli landscape out of the myths and idealisations of the Zionist state.<br />
David Spero’s photographs trace the intersecting histories of religious communities through the mundane<br />
urban sites of temporary churches.<br />
Michael Mack
132<br />
Collier Schorr<br />
Forest and Fields<br />
Volume 1. Neighbors<br />
The American photographer Collier Schorr has been working in Southern Germany for the past 12 years, compiling a<br />
documentary and fictional portrait of a small town inhabited by historical apparitions. For Schorr, the German<br />
landscape is a map of her own history, both imagined and inherited. Combining the overlapping roles of war<br />
photographer, traveling portraitist, anthropologist and family historian, the series Forest and Fields (Wald und Wiesen)<br />
tells the interwoven stories of a place and time determined by memory, nationalism, war, emigration and family.<br />
Forests and Fields is intrinsically about book making, an ongoing suite of artist’s books that utilizes traditional notions<br />
of category to create different points of view. Each volume is part diary, photo-annual, palimpsest, and scrapbook, and<br />
involves a process which constantly expands and contradicts the artist’s oeuvre through re-edits of the work to create<br />
new views through the material. The first two volumes will focus on Neighbors and Reportage.<br />
Subsequent volumes will include landscapes, architecture, flowers and sport. Each volume will share the same<br />
dimensions but each will be designed as an independent and unique work in itself. The final volume will be text based,<br />
a collection of commissioned and re-published writings inspired by the ideas explored in the pictures.<br />
A boxed, numbered and signed special edition of the complete set of the Forest and Fields series will be available once<br />
the project has been completed.<br />
Collier Schorr, born in New York in 1963, has exhibited her work internationally at prestigious venues that include the<br />
Museum of Modern Art, the Walker Art Center in Minneapolis, the Jewish Museum in New York, the Stedelijk Museum<br />
in Amsterdam, the 2002 Whitney Biennial, the 2003 International Center for Photography Triennial and the Consorcio<br />
Salamanca in Salamanca, Spain. Work from Forest & Fields has been collected by many major museums including The<br />
Museum of Modern Art, The Whitney Museum of American Art, The Guggenheim and The Jewish Museum. Schorr is<br />
represented by 303 Gallery, NYC, and Stuart Shave/Modern Art in London, and currently lives and works in Brooklyn,<br />
New York.<br />
Exhibition: Modern Art / Stuart Shave, London, September, 20<strong>06</strong>.<br />
Collier Schorr<br />
Forest and Fields<br />
Volume 1. Neighbors<br />
88 pages, 58 tritone plates<br />
12.5 x 10.25 in. / 32 x 26 cm<br />
Hardcover<br />
US $ 45.00 / £ 25.00 / R 38.00<br />
ISBN 3-86521-303-0<br />
ISBN-13 978-3-86521-303-7<br />
133
134<br />
Adam Broomberg & Oliver Chanarin<br />
Chicago: Everything that happened, happened here first<br />
Chicago is a fake Arab town built by the Israeli Defense Force for urban combat training. It is a place that is familiar to<br />
Israeli and American soldiers but until now largely unknown outside Israel. Chicago stands in the middle of the Negev<br />
desert; a ghost town whose history directly mirrors the story of the conflict for Palestine. During the war in Lebanon, its<br />
labyrinth of streets and alleys were adorned with abandoned cars, imitating areas of Beirut. During the first and second<br />
intifada its concrete walls were covered with Arabic graffiti reminiscent of Gaza city, and an additional area was<br />
constructed to simulate the refugee camps of the occupied territories. During the first Gulf war American Special<br />
Forces had their first taste of the Middle East in Chicago in the Israeli desert. Everything that happened, happened here<br />
first. In rehearsal.<br />
Complete with homes, shops, streets, mosques and a refugee camp, Chicago represents an Israeli military fantasy: an<br />
Arab town devoid of people. It is a fantasy that was at the heart of early Zionist propaganda, expressed in the famous<br />
slogan “A land without people for a people without land”. In an attempt to scrutinize this and other myths about the state<br />
of Israel, photographers Adam Broomberg and Oliver Chanarin have produced a highly original, visual analysis of<br />
contemporary Israel. In their images nothing is as it seems. A watermelon is revealed to be a suicide bomb; a tranquil<br />
forest becomes the site of a forensic investigation; a sniper’s lair suggests a national neurosis. Through this collection<br />
of simulated landscapes, buildings and objects, a new perspective on Israel begins to emerge.<br />
Adam Broomberg and Oliver Chanarin are a photographic team based in London. Together they have produced three<br />
photographic books: Trust which accompanied their solo-show at The Hasselbad Center; Ghetto, a collection of their<br />
work as editors and principal photographers of Colors magazine; and Mr Mkhize’s Portrait which documented South<br />
Africa ten years after apartheid and accompanied their solo show at The Photographers’ Gallery. Their work has been<br />
exhibited internationally and is part of the Victoria and Albert Museum’s permanent collection. They are the recipients of<br />
numerous awards, including the Achievement Award from the Royal Photographic Society of Great Britain, and have<br />
also been awarded a number of photographic commissions. Broomberg and Chanarin also teach on the MA<br />
photojournalism course at London College of Communication. They continue to work for a number of magazines<br />
including The Guardian Weekend, The Observer Magazine and Life. Last year they produced their first documentary<br />
film, commissioned by Channel 4.<br />
Exhibition: October 26, 20<strong>06</strong>, Steven Kasher Gallery, New York.<br />
Adam Broomberg & Oliver Chanarin<br />
Chicago: Everything that happened, happened here first<br />
Text by Eyal Weizman<br />
and an introduction by Adam Broomberg & Oliver Chanarin<br />
Book design by <strong>Steidl</strong>MACK<br />
156 pages with 100 color plates<br />
11.25 x 14 in. / 28.5 x 36 cm<br />
Hardcover with dust jacket<br />
US $ 50.00 / £ 30.00 / R 45.00<br />
ISBN 3-86521-3<strong>07</strong>-3<br />
ISBN-13 978-3-86521-3<strong>07</strong>-5<br />
135
136<br />
David Spero<br />
Churches<br />
The churches in this book reflect a wide and diverse range of denominations and sects that form what is often referred<br />
to as the ‘charismatic evangelical movement’. Materially and architecturally the buildings display an almost protestant<br />
ascetism quite in keeping with a spiritualist church movement reacting against secular material rationalism and<br />
consumerism. In these churches the holy spirit pervades, faith is instrinsic and god is personally experienced. They<br />
feature none of the monumental architecture or symbols of status and power of the historically dominant<br />
denominations. In these churches the architecture is contingent. The buildings were never designed to be churches<br />
and this random collection of architectural structures has come about as the result of numerous acts of faith. Often<br />
temporary, semi-permanent or unconsecrated, they are sometimes anonymous and almost invisible. They are located<br />
where we would least expect to find them, in industrial estates, shopping parades, houses, garages, cinemas, above<br />
pubs and commercial properties.<br />
In an era of globalisation and migration in which religion is the subject of complicated political debates and the focus of<br />
many conflicts, it is often forgotten how religious beliefs offer a sense of community and support for those experiencing<br />
the displacement of urban existence. Spero’s work acknowledges that the divine may exist in the most unlikely places<br />
and testifies to our enduring need to seek out a state of grace.<br />
David Spero, born 1963, lives in London. He has exhibited widely and his work has been included in recent shows at<br />
Tate Britain and the Photographers’ Gallery, London. Churces is his first book.<br />
David Spero<br />
Churches<br />
Edited by David Spero and Michael Mack<br />
Book design by David Spero and <strong>Steidl</strong>MACK<br />
144 pages, 65 color plates<br />
9 x 11.5 in. / 23 x 29.7 cm<br />
Clothbound hardcover with dust jacket<br />
US $ 45.00 / £ 25.00 / R 38.00<br />
ISBN 3-86521-308-1<br />
ISBN-13 978-3-86521-308-2<br />
137
138<br />
Torbjørn Rødland<br />
White Planet, Black Heart<br />
Torbjørn Rødland is to photography what the Pet Shop Boys are to pop music: a master of the delicately orchestrated<br />
cliché overload, a surcharge of the too obvious, too cute or too inane, played to the point where the images are drained<br />
of all trace of common sense and suggest a new sense of silence or mystery.<br />
Rødland has a knack for producing images that make you ask what are, in fact, appropriate motives for art photography:<br />
images of single audio or video cassettes? Bleak black and white renditions of countryside churches? George W.<br />
Bush’s favourite ice cream? A black banana? Girls and pets, pets and girls? He creates a complex of readings that<br />
inveigles the viewer into spending time with each single image, to reconsider its meaning and relevance. White Planet,<br />
Black Heart makes no excuses as it reinvents the romantic impulses of popular culture.<br />
Torbjørn Rødland was born in 1970 in Hafrsfjord, Norway. Since the mid-90s his photographs — and, for a few years<br />
now, also experimental video works — have been exhibited widely. White Planet, Black Heart is his first book.<br />
Exhibition: Haugar Art Museum, Tønsberg, Norway, from June 10 through September 3, 20<strong>06</strong>.<br />
Previously Announced<br />
Torbjørn Rødland<br />
White Planet, Black Heart<br />
Texts by Gil Blank, Ina Blom and Hillary Raphael<br />
Edited by Torbjørn Rødland and Michael Mack<br />
Book design by Torbjørn Rødland and Catherine Lutman<br />
112 pages, four-color throughout<br />
7.5 x 12 in. / 19.5 x 30.5 cm<br />
Clothbound hardcover with dustjacket<br />
US $ 35.00 / £ 20.00 / E 30.00<br />
ISBN 3–86521–222–0<br />
ISBN-13 978-3-86521-222-1<br />
139
140<br />
John Warwicker<br />
The Floating World: Ukiyo-e<br />
Inspired by the ancient Japanese artists of Ukiyo-e and a polymath’s myriad references, John Warwicker has for over 10<br />
years been one of the most original thinkers in the design and creative industries. As a founding member of Tomato, he<br />
established an international reputation in the 1990s and has been formative in shaping popular media.<br />
The Floating World: Ukiyo-e is the first monograph of John Warwicker’s work. Rather than simply collecting together<br />
old work from commercial commissions and personal projects, Warwicker has written and designed an extensive book<br />
that only occasionally references prior work and which sets out to document his experience in an authentic voice. He has<br />
taken the themes, ideas, histories and memories which have informed and influenced him to produce a sophisticated and<br />
yet elegiac book constructed from his critical writings, photography, drawings, film, print, typography, poetry and prose.<br />
Every text page is an original artwork, delicately constructed in layers of typography, and the interwoven illustrations<br />
confirm Warwicker as an innovative visual artist.<br />
Previously Announced<br />
John Warwicker<br />
The Floating World: Ukiyo-e<br />
Designed and with text and illustrations by John Warwicker<br />
Edited by Michael Mack<br />
400 pages illustrated throughout<br />
Printed on five different paper stocks<br />
9.25 x 7.75 in. / 23.5 x 19.5 cm<br />
Printed silk bound hardcover<br />
US $ 85.00 / £ 45.00 / r 70.00<br />
ISBN 3–86521–030–9<br />
ISBN-13 978-3-86521-030-2<br />
141
A long distance drawing of Pascal Dangin by Mathias Augustyniak<br />
The new season’s publication is devoted exclusively to a single artist, Tierney<br />
Gearon. Daddy, where are you? is part of our Collection Series and truly speaks<br />
for itself. Pictures are indeed worth a thousand words. Enjoy.<br />
Pascal Dangin
144<br />
Tierney Gearon<br />
Daddy, where are you?<br />
Daddy, where are you? brings together over 70 photographs by Tierney Gearon. Set mainly in and around her mother’s<br />
home, the ostensible subject of Gearon’s ongoing series is the interaction between Gearon, her children and mother. Yet<br />
Gearon’s beautiful but strikingly raw photographs also narrate a story with a more expansive emotional force. It tells of<br />
the closeness as well as the profound distance between our loved ones and us. It is this psychological tension as well as<br />
her direct confrontation with one of photography’s enduring themes that distinguishes her from her contemporaries.<br />
Daddy, Where Are You? combines revealing tableaux, garnered from Gearon’s observations of family outings and<br />
routines, with a sequence of portraits of her mother. Together they capture the impossibility of truly understanding the<br />
full nature of those we love.<br />
Tierney Gearon was born in Atlanta, Georgia in 1963 and currently lives and works in Santa Monica, California. Her<br />
photographs of her family figured prominently in the exhibition “I am a Camera” at the Saatchi Gallery in London during<br />
Spring 2001.<br />
Exhibition: Yossi Milo Gallery, New York, from October 19 - November 25, 20<strong>06</strong>.<br />
Tierney Gearon<br />
Daddy, where are you?<br />
Book design by Pascal Dangin<br />
156 pages with 73 color plates<br />
12.75 x 10.5 in. / 32.5 x 26.8 cm<br />
Foil-stamped clothbound hardcover with dust jacket<br />
US $ 80.00 / £ 50.00 / R 75.00<br />
ISBN 3-86521-309-X<br />
ISBN-13 978-3-86521-309-9<br />
145
International Center of Photography, New York<br />
One of the great pleasures of our collaboration with <strong>Steidl</strong> is that it allows us the opportunity to create<br />
many different kinds of books, reflecting the diversity of ICP’s collection and exhibitions. This season<br />
is no exception, as we prepare three distinct publications, each requiring a unique design, trim size,<br />
paper, printing—from the straightforward, black-and-white images of Weegee to the vibrant,<br />
dramatic, and very philosophical pictures of Atta Kim, and, finally, to the great variety of work<br />
represented by the many artists in Ecotopia: ICP’s Second Triennial of Photography and Video. While<br />
the treatment of our books is always individual, we hope that you will find the result always satisfying.<br />
Karen Hansgen / Director of Publications Willis Hartshorn / Ehrenkranz Director<br />
147
148<br />
Atta Kim<br />
This book offers the most comprehensive look to date at the work of Atta Kim, one of Korea’s most distinctive<br />
contemporary artists. Atta Kim uses photography to create dramatic, large-scale works that reflect his fascination with<br />
philosophical questions. The “Deconstruction” series (1992–95) features disconcerting images of seemingly lifeless<br />
men and women whose naked bodies are scattered like seeds in open fields and desolate natural settings. In The<br />
Museum Project (1995–2002), Atta Kim poses people drawn from a wide range of social types in clear acrylic boxes<br />
which he places in a variety of urban and natural locations. These images of what he ironically calls “contemporary<br />
treasures” provide an unusual perspective on contemporary approaches to sexuality, materialism, politics, and religion.<br />
For the ON-AIR Project (2002 to the present), Atta Kim employs extended exposures, sometimes lasting twenty-four<br />
hours, to create haunting images that suggest the ephemerality of human existence. This book accompanies a major<br />
exhibition of works from the ON-AIR Project at the International Center of Photography and includes a career-spanning<br />
interview with the artist by ICP curator Christopher Phillips.<br />
Atta Kim was born in South Korea in 1956. He graduated from Changwon University with a Bachelor of Science degree<br />
and has been actively photographing since the mid-1980s. He has held solo shows at the Samsung Photo Gallery,<br />
Seoul; the Nikon Salon Gallery, Tokyo; the Yechong Gallery, Seoul; and has been included in numerous group<br />
exhibitions, including shows at the Museum of Contemporary Photography in Chicago; The Odense Foto Triennale in<br />
Odense, Denmark; the Australian Centre for Photography; the twenty-fifth São Paulo Biennial; and FotoFest in<br />
Houston.<br />
Exhibition: International Center of Photography, New York, June 9 to August 27, 20<strong>06</strong>.<br />
Atta Kim<br />
Book design by <strong>Steidl</strong> design / Bernard Fischer<br />
152 pages plus one Gatefold with 90 color plates<br />
11.75 x 9.5 in. / 29.7 x 24 cm<br />
Clothbound hardcover with dust jacket<br />
US $ 50.00 / £ 30.00 / R 45.00<br />
ISBN 3-86521-311-1<br />
ISBN-13 978-3-86521-311-2<br />
149
150<br />
Unknown Weegee<br />
Our image of Weegee is that of the prototypical New York tabloid news photographer: tough, garrulous, and on the<br />
scene, ready to cover two murders in one night. But the inventive Jewish immigrant Arthur Fellig, who assumed the selfmocking<br />
nickname Weegee, was also one of the most original and creative photographers of the twentieth century. His<br />
images of the masses at Coney Island, the confrontation of wealth and poverty at the opening night at the opera, and<br />
the aftermath of brutal crime scenes are, by now, classics. But beyond the iconic images that have been so widely<br />
circulated, what do we know of Weegee the photographer – his history, his methods, his meaning? Drawing on The<br />
International Center of Photography’s unique archive of nearly 20,000 prints by this celebrated master, Unknown<br />
Weegee will present 120 photographs that have never been made available to the public. They show Weegee to be a<br />
politically astute and witty social critic, and attest to the seriousness and self-consciousness of his photographic<br />
endeavors.<br />
Weegee (Arthur Fellig, 1899–1968) is best known for his tabloid news photographs of urban crowds, crime scenes,<br />
and New York City nightlife of the 1930s and 1940s. He later dedicated himself to what he called “creative<br />
photography” – images made through distorting lenses and other optical effects.<br />
Exhibition: International Center of Photography, New York, June 9 to August 27, 20<strong>06</strong>.<br />
Unknown Weegee<br />
With essays by Luc Sante and ICP curator Cynthia Young<br />
Book design by <strong>Steidl</strong> design<br />
160 pages with 120 tritone plates<br />
9 x 11 in. / 22.8 x 27.9 cm<br />
Hardcover<br />
US $ 28.00 / £ 17.50 / R 25.00<br />
ISBN 3-86521-312-X<br />
ISBN-13 978-3-86521-312-9<br />
151
152<br />
Sanguinetti Sanguinetti<br />
Mattingly<br />
Epstein<br />
Epstein<br />
ECOTOPIA: The Second ICP Triennial of Photography and Video<br />
In a time of rampant natural disasters and urgent concerns about global environmental change, this book, which<br />
accompanies an exhibition of the same name, demonstrates the ways in which the most interesting and engaging<br />
contemporary artists view the natural world. Shattering the stereotypes of landscape and nature photography, the thirty<br />
international artists included in this survey boldly examine new concepts of the natural sphere occasioned by twentyfirst-century<br />
technologies; images of destructive ecological engagement; and visions of our future interactions with the<br />
environment. Considering nature in the broadest sense, this book reflects new perspectives on the planet that sustains,<br />
enchants, and — increasingly — frightens us. Ecotopia was organized by four ICP curators, Brian Wallis, Christopher<br />
Phillips, Edward Earle, Carol Squiers, and Assistant Curator Joanna Lehan.<br />
Exhibition: International Center of Photography, New York, September 14 to November 26, 20<strong>06</strong>.<br />
ECOTOPIA: The Second ICP Triennial of Photography and Video<br />
Book design by <strong>Steidl</strong> design<br />
380 pages, full color printing<br />
8 x 8 in. / 20 x 20 cm<br />
Softcover<br />
US $ 35.00 / £ 20.00 / R 30.00<br />
ISBN 3-86521-310-3<br />
ISBN-13 978-3-86521-310-5<br />
153
Each of the books we are publishing this season is different, a unique project both<br />
conceptually and physically.<br />
Tony Smith was a painter, an architect, and a sculptor. His work has been<br />
enormously influential on the art of our time. Until now there has been no volume<br />
that reproduces all of the artist’s major sculptures, which are his greatest<br />
achievement. Tony Smith in Large-Scale gathers together images of each of<br />
Smith’s large-scale outdoor sculptures, including a number of works that have<br />
never before been reproduced.<br />
Charles Ray is among the most important artists of his generation. Over the past<br />
thirty years he has produced a precise and widely admired body of work in a variety<br />
of media using both abstract and figurative forms. He is not a prolific artist, and it<br />
is always a special occasion when he sends something out into the world. A<br />
beautiful small volume – part artist book and part exhibition catalogue – a fourdimensional<br />
being writes poetry on a field of sculpture is assembled on the<br />
occasion of an eponymous exhibition organized by Charles Ray. It reproduces<br />
work as diverse as an archaic Greek sculpture and a photograph by Jeff Wall and<br />
is produced in close collaboration with the artist.<br />
The distinguished Los Angeles artist Ken Price has been making ceramic<br />
sculptures and works on paper for over 40 years. Celebrated for their jewel-like<br />
color, fetishistic attention to surface, and sexual overtones, his sculptures are<br />
constantly evolving, and our publication reproduces both a new body of work as<br />
well as a retrospective sampling dating back to the early 1960s. A conversation<br />
with fellow Los Angeles artist Vija Celmins explores the trajectory of Price’s work,<br />
while a selection of works on paper reveal him to be a gifted draftsman from the<br />
beginning of his career.<br />
Finally, we are honored to publish a volume of recent painting and sculpture by<br />
Ellsworth Kelly, who continues to produce vital and extraordinary work,<br />
developing new ideas within his chosen vocabulary well after his 80th birthday.<br />
Matthew Marks
156<br />
Not an Object, Not a Monument<br />
Tony Smith: The Complete Large Scale Sculptures<br />
Between 1960 and 1980, the year of his death, Tony Smith produced 47 large-scale outdoor sculptures. These<br />
sculptures were both revolutionary and vastly influential. This publication is the first to bring together all these works in<br />
a single volume, chronologically exploring the developments in Smith’s significant body of work.<br />
Fabricated in steel and painted black, Smith’s sculpture evolved from early minimal works to monumental pieces of<br />
great geometric intricacy. An architect working under Frank Lloyd Wright and a painter who was a close friend to<br />
Jackson Pollock and Barnett Newman, Smith was always concerned with the potential of purified form and color. His<br />
sculpture, which he approached late in life, solidifies these investigations, many of his first distilled forms becoming<br />
components of his later larger works.<br />
This volume also includes excerpts of interviews with Smith, highlighting the artist’s passionate approach to sculpture.<br />
Tony Smith was born in 1912. Initially acclaimed as an architect and painter, Smith did not concentrate on or exhibit his<br />
sculpture until 1961. From the time of his first one-person museum exhibition to that of his death, Smith established<br />
himself as one of the most important and influential artists of the twentieth century. His work continues to be widely<br />
shown, most recently including solo museum exhibitions at the Museum of Modern Art, New York, in 1998; and IVAM,<br />
Valencia, in 2002; as well as permanent installations at museums and public spaces in major cities throughout the world.<br />
Not an Object, Not a Monument<br />
Tony Smith: The Complete Large Scale Sculptures<br />
With text by Tony Smith<br />
Book design by <strong>Steidl</strong> design / Bernard Fischer<br />
104 pages, 54 tritone plates<br />
9.8 x 12.9 in. / 25 x 33 cm<br />
Hardcover<br />
US $ 30.00 / £ 20.00 / R 30.00<br />
ISBN 3-86521-313-8<br />
ISBN-13 978-3-86521-313-6<br />
157
158<br />
Charles Ray<br />
a four dimensional being writes poetry on a field of sculpture<br />
When asked to organize an exhibition on a theme of his choice, the Los Angeles artist Charles Ray chose that of moral<br />
and amoral space, coming from Alberto Giacometti’s description of one of his own works. A four dimensional being<br />
writes poetry on a field with sculptures is the title Charles Ray has given to both the exhibition at Matthew Marks Gallery<br />
in New York and this beautifully-produced small volume that accompanies it. The book reproduces Giacometti’s<br />
“Standing Woman” (1948), an untitled box piece by Donald Judd, an ancient Greek kouros (615-590 B.C.), a sculpted<br />
piece of island marble from Attica, Mark di Suvero’s “Hankchampion” (1960), Jeff Wall’s “A ventriloquist at a birthday<br />
party in October 1947” (1990), and a series of sculptures by the American folk artist Edgar Tolson entitled “The <strong>Fall</strong> of<br />
Man” (1969).<br />
Charles Ray was born in Chicago in 1953 and had his first solo museum exhibition in 1989. Since that time, he has<br />
shown his work at museums around the world and has been included in two Venice Biennales (1993, 2003),<br />
Documenta IX (1992), and four Whitney Biennials. His work was the subject of a retrospective at the Museum of<br />
Contemporary Art, Los Angeles, which traveled to the Whitney Museum of American Art, New York, and the Museum of<br />
Contemporary Art, Chicago. Charles Ray lives and works in southern California.<br />
Exhibition: Matthew Marks Gallery, New York, June 27 to August 11, 20<strong>06</strong><br />
Charles Ray<br />
a four dimensional being writes poetry on a field of sculpture<br />
Book design by Silvia Gaspardo Moro<br />
24 pages with tritone plates and one color image<br />
5.75 x 8.5 in. / 14.5 x 21.9 cm<br />
Hardcover with a translucent dust jacket<br />
US $ 20.00 / £ 12.50 / R 18.00<br />
ISBN 3-86521-314-6<br />
ISBN-13 978-3-86521-314-3<br />
159
160<br />
Ken Price<br />
Sculpture and Drawings<br />
For over 40 years Ken Price has been heavily invested in the creation and innovation of form and color in ceramic<br />
sculpture. Price’s work has adventurously pushed the boundaries of structure and glazing, creating remarkably alive<br />
shapes and color patterns and making him one of the most influential artists working in the medium today.<br />
This volume is the first to show a new body of work as well as a retrospective sample of the artist’s long career in<br />
sculpture and drawing. The new sculptures, sensuous in shape, are fetish-like objects, each meticulously painted and<br />
sanded to create a rich, patterned skin with a jewel-like surface. Price’s drawings, brilliant in color, depict an often<br />
fantastic realm full of rushing lava, raging seas, and roaming creatures. Important from the very beginning of the artist’s<br />
career, the drawings highlight themes common throughout his work and show Price to be a fine and original draftsman.<br />
In addition, fellow Los Angeles artist Vija Celmins interviews Price, further investigating his motivation and process,<br />
contextualized in the California art community he helped to create.<br />
Ken Price was born in Los Angeles, California, in 1935. Receiving his MFA in 1959 from Alfred University, Price quickly<br />
became part of the emerging Los Angeles art community centered around the Ferus Gallery. Constantly developing his<br />
craft in both sculpture and drawing, he has exhibited his work regularly since that time, including one-person museum<br />
exhibitions at the Los Angeles County Museum of Art, Los Angeles; the Menil Collection, Houston; the Whitney<br />
Museum of American Art, New York; the Walker Art Center, Minneapolis; and, most recently, the Chinati Foundation,<br />
Marfa. Price lives and works in New Mexico and Los Angeles.<br />
Exhibition: Matthew Marks Gallery, New York, September / October 20<strong>06</strong><br />
Ken Price<br />
Sculpture and Drawings<br />
With text by Vija Celmins<br />
Book design by Matthew Marks and Gerhard <strong>Steidl</strong><br />
112 pages with 60 color plates<br />
9.2 x 11 in. / 23.5 x 28 cm<br />
Hardcover<br />
US $ 45.00 / £ 28.00 / R 40.00<br />
ISBN 3-86521-315-4<br />
ISBN-13 978-3-86521-315-0<br />
161
162<br />
Ellsworth Kelly<br />
This book explores the most recent paintings and sculptures of Ellsworth Kelly, celebrated as one of the world’s most<br />
important living artists. Reproducing over thirty works made in the past three years, this volume explores the artist’s<br />
ongoing rigorous investigation of color and form.<br />
Kelly’s chromatics are balanced by his calculated compositions, whereby the literal shapes of the canvases, often<br />
joined and overlapped, enter a dialogue with the colors’ tendency to advance and recede. These particular<br />
constructions have appeared in the artist’s work since the early 1950s; over half a century later, Kelly continues to find<br />
new ways to push these forms further.<br />
Also pictured are the artist’s ten most recent monumental sculptures. These include a 50-foot tall stainless steel totem<br />
that the artist installed at the edge of a lake, the sculpture’s remarkable form mirrored in the water’s surface. The<br />
enormous wall panels commissioned for the United States Embassy in Beijing are reproduced as well.<br />
The scholars Roberta Bernstein and Herbert Muschamp each contribute an insightful essay exploring and situating the<br />
new work.<br />
Ellsworth Kelly was born in Newburgh, New York, in 1923. His first one-person exhibition was held in 1951 in Paris,<br />
where the artist was studying on the G.I. Bill following World War II. He returned to the United States in 1954, renting<br />
a studio in downtown New York City, and his position among America’s most esteemed painters began to take form.<br />
Since that time, the artist’s work has been the subject of numerous major retrospectives worldwide and is presently<br />
included in all of the most important public collections of contemporary art. Many of the works reproduced in this<br />
volume are on view at the Serpentine Gallery, London, from March through May 20<strong>06</strong>. Kelly currently lives and works in<br />
upstate New York.<br />
Exhibition: Matthew Marks Gallery, New York, November / December 20<strong>06</strong><br />
Ellsworth Kelly<br />
With text by Herbert Muschamp and Roberto Bernstein<br />
Book design by Ellsworth Kelly and Gerhard <strong>Steidl</strong><br />
112 pages with 30 color plates<br />
9.4 x 12.9 in. / 24 x 33 cm<br />
Clothbound hardcover with dust jacket<br />
US $ 45.00 / £ 28.00 / R 40.00<br />
ISBN 3-86521-227-1<br />
ISBN-13 978-3-86521-227-6<br />
163
164<br />
Brice Marden<br />
Paintings on Marble<br />
This volume provides a rare glimpse into the most intimate works of the internationally acclaimed artist Brice Marden.<br />
Twenty years ago, Marden produced a series of small and virtually unknown paintings on the Greek island of Hydra,<br />
which the artist first visited in 1971. Inspired by the island’s ancient marble quarries, Marden created these private<br />
paintings in oil on marble fragments as tokens of his affection and admiration for friends and family. Between 1981 and<br />
1987, the artist made a total of 31 paintings on marble, gathered together here for the first time in a single volume.<br />
The period in which Marden executed these works coincided with enormous changes in his more publicly exhibited<br />
paintings. Until 1981, when the artist began working on marble, his paintings were geometric monochromes, often<br />
based on the post-and-lintel structure so common in ancient Greek architecture. In 1987, the date of his last painting<br />
on marble, Marden presented the first public exhibition of his calligraphic paintings, their organic forms derived from<br />
nature and East Asian calligraphic traditions.<br />
Last exhibited over two decades ago, the paintings on marble are the least well-known part of Marden’s oeuvre. Now,<br />
with a twenty-year perspective on them, perhaps we can better understand the principal role they played as a bridge<br />
between Marden’s more minimal work of the 1960s and 70s to the calligraphic work of the late 1980s through the<br />
present.<br />
Brice Marden was born in 1938, and first exhibited his work in 1963. Some of his recent exhibitions have included:<br />
Brice Marden: Works on Paper 1964–2001, at Instituto Nationale per la Grafica, Rome, Archivio di Stato in the Royal<br />
Palace, Turin, and the Westfälisches Landesmuseum für Kunst und Kulturgeschichte in Münster; Brice Marden: Work<br />
Books 1964–1995, at The Fogg Art Museum at Harvard University, The Wexner Center for the Arts, Ohio, and The<br />
Museum of Fine Arts, Houston; Brice Marden: Work of the 1990s at The Dallas Museum of Art, The Hirshhorn Museum,<br />
Washington, D.C., and The Carnegie Museum of Art, Pittsburgh; and an exhibition of recent paintings and drawings at<br />
The Serpentine Gallery, London. Brice Marden lives and works in New York City and Hydra, Greece.x<br />
Exhibition: A Retrospective of Paintings and Drawings, October 29, 20<strong>06</strong> - January 15, 20<strong>07</strong> at MoMA, New York<br />
Brice Marden<br />
Paintings on Marble<br />
With an essay by Lisa Liebmann<br />
Book design by Mats Hakansson<br />
88 pages with 30 color plates<br />
8 x 9 in. / 21.8 x 22.8 cm<br />
Clothbound hardcover with dust jacket<br />
US $ 35.00 / £ 20.00 / r 30.00<br />
ISBN 3–86521–163–1<br />
ISBN-13 978-3-86521-163-7<br />
165
“In addition to the purely textual type of book, there's a new kind of book that<br />
combines both text and image. Modern man has acquired a new source of enjoyment<br />
in illustrated newspapers and magazines. The highly personalized clarity and<br />
precision of photojournalism often deliver the message more effectively and more<br />
quickly than an article covering the same subject.”<br />
It was back in 1928 that Jan Tschichold used these words to describe the<br />
published photographic image. The projects of the 1970s and 1980s by Chris<br />
Killip and Timm Rautert presented here are included in this perspective – but far<br />
removed from this tradition in their divergent ways of working.<br />
Ute Eskildsen
168<br />
Timm Rautert<br />
Deutsche in Uniform<br />
Timm Rautert created his 1974 series Deutsche in Uniform, in the environs of the portrait subjects, but shot them<br />
against a neutral background in order to separate them from their fields of work. This studio set-up gave special<br />
significance to the moment of representation, when the subject was captured as a symbol of the state or an<br />
occupational group. By using not only names and job titles, but also quotes from interviews, Rautert prompts the<br />
observer to focus on the subject or the connection between individual gestures and his official work clothes. In contrast<br />
to today’s professional clothing, which logos transform into outfits, the uniforms photographed by Rautert reflect a time<br />
of social upheaval. This documentary project was followed by the 1976 series entitled Die Letzten ihrer Zunft (The Last<br />
of this Profession) about the extinction of certain trades and professions.<br />
Timm Rautert, born in Tuchola in 1941, studied photography under Otto Steinert at the Folkwang School of Design in<br />
Essen. He published several books, including Arbeiten (<strong>Steidl</strong> 2000). Rautert is teaching photography at the Hochschule<br />
für Grafik und Buchkunst in Leipzig since 1993.<br />
Timm Rautert<br />
Deutsche in Uniform<br />
Text German / English<br />
Essay by Wolfgang Brückle<br />
Book design by Sarah <strong>Winter</strong><br />
128 pages with 45 color plates<br />
9.5 x 11 in. / 24 x 28 cm<br />
Hardcover<br />
US $ 50.00 / £ 28.00 / R 40.00<br />
ISBN 3-86521-316-2<br />
ISBN-13 978-3-86521-316-7<br />
169
170<br />
Chris Killip<br />
Pirelli Work<br />
“I wanted to show the manufacturing process as clearly as I could and to do so in this factory meant it would have to be<br />
lit. Ironically, my stubborness in trying to avoid lighting would now have its own unexpected rewards. Because of the<br />
desperate amount of time that I had spent there, I knew in a visual way the processes of the factory; the rhythms and<br />
cycles of the machines, the movement and steps that the operators had to take, the movement that the processes<br />
predetermined for them. I began again, rephotographing the factory using lights, sometimes three or four lights<br />
triggered by remote control devices. The main light, the one balanced to light the subject, was often held on a pole by<br />
my friend, away from the camera, mimicking the fashion techniques that I knew from my past. I now understood and<br />
knew what I wanted to do. The workplace had become, in a real sense for me, a theatre and I embraced the look of<br />
these new photographs with their relation to fashion, film noir, and even Soviet realism. For me this ‘look’ seemed a<br />
more telling way to record and document this enforced ritual.”<br />
Chris Killip, born 1946 in Douglas, Isle of Man, Great Britain, is one of the most influential photographers and teachers<br />
to have come out of the United Kingdom. His work at Side Gallery, Newcastle, in the late 1970s and 1980s defined an<br />
era of photographic history. He is the recipient of numerous prizes and his work is included in most major museum<br />
collections.<br />
Chris Killip<br />
Pirelli Work<br />
Essay by Clive Dilnot<br />
Book design by Claas Möller<br />
128 pages, 50 tritone plates<br />
13.75 x 11 in. / 35 x 28 cm<br />
Clothbound hardcover<br />
US $ 50.00 / £ 28.00 / R 40.00<br />
ISBN 3-86521-317-0<br />
ISBN-13 978-3-86521-317-4<br />
171
STEIDL Hauser & Wirth<br />
When I think about books, I think of Dieter Roth, his Scheisse books, diaries and<br />
published notebooks. They embody the ability of a book to stand as a work of art<br />
in its own right and to provide a medium for artistic experimentation.<br />
The process of making a book is in many ways comparable to creating an<br />
exhibition. In both, I try to provide artists with the instruments necessary to make<br />
concrete their ideas.<br />
I love books that break out beyond the boundaries of the page and provoke us to<br />
think in fresh and exciting ways. It is the ability of a book to perform that magic<br />
transformation of ideas and artistic venture into a material object that draws me to<br />
books and inspires me to produce them.<br />
Iwan Wirth
174<br />
Roni Horn<br />
Rings of Lispector (Agua Viva)<br />
Roni Horn’s remarkable body of work continues to communicate how she imaginatively inhabits the world and<br />
combines a careful study of the role of language in perception. Horn’s unique ability to engage the viewer with a vivid<br />
sense of time and place in her range of sculptures, books, drawings and photographic installations, provide an active<br />
pursuit of self-revelation and the transience of form.<br />
For Horn’s exhibition at Hauser & Wirth London in 2004, the entire floorplan of the main gallery was given over to the<br />
installation of Rings of Lispector. Consisting of interconnecting rubber tiles, the work is inlaid with select passages<br />
from Brazilian writer Clarice Lispector’s book Agua Viva (Stream of Life). Translated by Hélène Cixous, phrases appear<br />
on the floor in circular arrangements, echoing the movement of raindrops on the surface of water. The work embodies<br />
a sense of the dialectic between architectural space and poetic force, encouraging one to experience the rubber<br />
physically underfoot and to view the words from above. This act of location addresses inner emotions with the idea of<br />
landscape.<br />
An important factor in Horn’s conceptual and aesthetic sensibility is her exploration of the possibilities of language as a<br />
sculptural form. Inspired by literary sources, she combines linguistic construction with the dimensions of physical<br />
experience.<br />
Roni Horn was born in New York where she continues to live and work. Recent solo exhibitions of her work include the<br />
Whitney Museum of American Art, New York; Musée d’Art Moderne de la Ville de Paris; Fundacao Serralves, Porto;<br />
Fotomuseum <strong>Winter</strong>thur and Centre Pompidou, Paris. Her recent publications, Dictionary of Water, This is Me, This is<br />
You, Cabinet of, If on a <strong>Winter</strong>’s Night…, Her, Her, Her, & Her, Wonderwater (Alice Offshore), Index Cixous (Cix Pax),<br />
have all been published by <strong>Steidl</strong>.<br />
Roni Horn<br />
Rings of Lispector (Agua Viva)<br />
English / French text<br />
With an essay by Hélène Cixous<br />
Book design by Roni Horn and Studio Achermann<br />
Book 1: 120 pages with 29 color plates<br />
Clothbound hardcover with dust jacket<br />
Book 2 (Agua Viva: Seventeen Paradoxes):<br />
24 pages with 17 color plates<br />
Softcover<br />
Two books housed in a slipcase<br />
11.25 x 8.75 in. / 28.6 x 22.4 cm<br />
US $ 35.00 / £ 20.00 / R 30.00<br />
ISBN 3-86521-149-6<br />
ISBN-13 978-3-86521-149-1<br />
175
176<br />
Andreas Hofer<br />
This Island Earth<br />
Andreas Hofer’s disturbing and challenging imagery is derived from history, art history and popular culture, but is<br />
definitively his own. His subject matter includes the symbols of the Third Reich, comic book heroes and science fiction.<br />
Hofer builds up a complex and diverse system of signs, removing traditional symbols from the popular lexicon and<br />
distorting them to present provocative and subversive parallels. Signing his works with the alter ego “Andy Hope” and<br />
the date “1930”, Andreas Hofer simultaneously invokes an all-American optimism and a dark era of European history.<br />
He is particularly inspired by the 1930s, the decade that witnessed Germany’s transition from the Weimar Republic to<br />
National Socialism, from democracy to totalitarianism, but was also marked by the development of film as the most<br />
powerful new tool of mass communication. Fascinated by Nazi approved art, he confronts it with signs of modernism,<br />
comic strip and film in order to interrogate its charismatic power and superficiality.<br />
Hofer works in a variety of media, including painting, sculpture, drawing, and collage, building up complex installations<br />
with many layers of meaning. This book, published on the occasion of Hofer’s exhibition This Island Earth at Hauser &<br />
Wirth London in Spring 20<strong>06</strong>, contains color reproductions of numerous new works, including a thirty-six foot long<br />
painting realised for the exhibition, alongside new sculptures and banners and a group of smaller paintings. Other<br />
recent paintings, drawings and collage works are also reproduced.<br />
Andreas Hofer was born in Munich in 1963 and lives and works in Berlin. He studied at the Academy for Visual Arts in<br />
Munich and then at Chelsea College of Art & Design in London. He has exhibited widely throughout Europe. In 2005,<br />
the first solo museum exhibition of his work, Welt ohne Ende was held in Munich.<br />
Andreas Hofer<br />
This Island Earth<br />
Texts by Caoimhín Mac Giolla Léith and J. G. Ballard<br />
Book design by Studio Achermann<br />
124 pages with 200 color plates<br />
8.75 x 11.25 in. / 22 x 28.6 cm<br />
Clothbound hardcover with dust jacket<br />
US $ 45.00 / £ 25.00 / R 38.00<br />
ISBN 3-86521-318-9<br />
ISBN-13 978-3-86521-318-1<br />
177
178<br />
s<br />
2005 | 20<strong>06</strong> Book awards<br />
Robert Rauschenberg<br />
Combines<br />
AAMC (American Association of Museum Curators)<br />
award for best publication 20<strong>06</strong><br />
s<br />
2005 | 20<strong>06</strong> Book awards<br />
Heinz Hajek-Halke<br />
Form aus Licht und Schatten<br />
Die schönsten deutschen Bücher and<br />
Deutscher Foto Buchpreis<br />
Edward Burtynsky<br />
China<br />
Deutscher Fotobuchpreis<br />
Paulo Nozolino<br />
Far Cry<br />
Deutscher Fotobuchpreis<br />
Jeff Wall<br />
Catalogue Raisonné<br />
Deutscher Fotobuchpreis<br />
Heidi Specker<br />
Im Garten<br />
Die schönsten Schweizer Bücher 2005<br />
Lewis Baltz<br />
The Tract Houses; The Prototype Works; The New Industrial Parks near Irvine, California<br />
Deutscher Fotobuchpreis and<br />
Wallpaper Design Award 20<strong>06</strong><br />
Diana Michener<br />
Dogs, Fires, Me<br />
Die schönsten deutschen Bücher 2005<br />
Alec Soth<br />
Sleeping by the Mississippi<br />
Deutsche Börse Photography Prize 20<strong>06</strong><br />
Fazal Sheikh<br />
Moksha<br />
International Henri Cartier-Bresson Grand Prize<br />
Anders Edström<br />
waiting some birds a bus a woman and spidernets places a crew<br />
John Kobal First Book Award<br />
Julian Germain<br />
For Every Minute you are Angry you lose Sixty Seconds of Happiness<br />
PHOTOEYE The Best Books of 2005<br />
179
Back Catalogue<br />
Abbe, James<br />
Shooting Stalin<br />
3–86521–043–0<br />
Hardcover, 24 x 29 cm,<br />
272 pp, 350 duotone<br />
Bailey, David<br />
Bailey’s Democracy<br />
3–86521–192–5<br />
Clothbound, 26 x 33 cm,<br />
160 pp, 147 tritone<br />
Baltz, Lewis<br />
The Tract Houses/The<br />
Prototype Works/The<br />
New Industrial Parks<br />
near Irvine, California<br />
3–86521–126–7<br />
Three vol.s, slipcased,<br />
28.5 x 27.3 cm<br />
Becker, Kathrin / Stahel,<br />
Urs (eds.)<br />
Remake Berlin<br />
3–88243–643–3<br />
Hardcover, 25 x 33 cm,<br />
236 pp, 114 color<br />
Achermann, Beda (ed.)<br />
Unified Message<br />
3–88243–831–2<br />
Hardcover, 25 x 32 cm,<br />
96 pp, 96 duotone and<br />
color<br />
Bailey, David<br />
Birth of the Cool<br />
3–88243–705–7<br />
Clothbound, 33 x 25.8<br />
cm, 276 pp, 313 duotone<br />
and color<br />
Banier, François-Marie<br />
Perdre la tête<br />
3–86521–234–4<br />
Hardcover, 18 x 24.7 cm,<br />
256 pp, 160 tritone<br />
Bergmann-Michel, Ella<br />
Fotografien und Filme<br />
1927-1935<br />
3–86521–176–3<br />
Hardcover, 22.5 x 25 cm,<br />
88 pp, 80 duotone<br />
African American<br />
Vernacular Photography<br />
3–86521–225–5<br />
Hardcover, 22.3 x 25.4<br />
cm, 120 pp, 70 plates<br />
Bailey, David<br />
Chasing Rainbows<br />
3–88243–755–3<br />
Clothbound, 26 x 33 cm,<br />
224 pp, 153 color<br />
Barceló / del Moral,<br />
Jean-Marie<br />
Barceló<br />
3–88243–959–9<br />
Hardcover, 24 x 30 cm,<br />
256 pp, 184 duotone<br />
and color<br />
Beuys, Joseph<br />
Beuys in America<br />
3–88243–539–9<br />
Clothbound, 21 x 29.6<br />
cm, 224 pp, 179<br />
duotone, 8 color<br />
Alvarez Bravo, Cartier-<br />
Bresson, Evans,<br />
Documentary and Anti-<br />
Graphic Photographs<br />
3–86521–<strong>07</strong>2–4<br />
Hardcover, 20 x 24 cm,<br />
192 pp, 89 tritone<br />
Bailey, David<br />
Locations<br />
3–88243–949–1<br />
Clothbound, 26 x 33 cm,<br />
256 pp, 250 duotone<br />
and color<br />
Barney, Tina<br />
The Europeans<br />
3–86521–095–3<br />
Hardcover, 29.7 x 24.4<br />
cm, 192 pp,<br />
83 color<br />
Beuys, Joseph<br />
Das Wirtschaftswertprinzip<br />
3–88243–145–8<br />
Clothbound, 160 pp<br />
Assouline, Pierre<br />
Henri Cartier-Bresson —<br />
Das Auge des<br />
Jahrhunderts<br />
3–88243–939–4<br />
Hardcover, 15.3 x 23 cm,<br />
368 pp, 19 duotone<br />
Baldaev, Danzig<br />
Russian Criminal Tattoo<br />
Encyclopedia<br />
3–88243–920–3<br />
Clothbound, 12 x 20 cm,<br />
400 pp, 67 duotone, 189<br />
illus.<br />
Bartos, Adam<br />
Boulevard<br />
3–86521–159–3<br />
Hardcover, 29.4 x 24.5<br />
cm, 120 pp,<br />
59 color<br />
Beuys, Joseph<br />
Das Kapital<br />
3–88243–163–6<br />
Clothbound, 196 pp<br />
Atelier Adamson<br />
3–86521–150–X<br />
Clothbound, 24.5 x 33<br />
cm, 224 pp, 358 color<br />
Baltz, Lewis<br />
The New Industrial Parks<br />
near Irvine, California<br />
3–88243–318–3<br />
Clothbound, 28 x<br />
27 cm, 108 pp, 51<br />
duotone<br />
Baudot, François (ed.)<br />
Réjane — Queen of the<br />
Boulevard<br />
3–88243–752–9<br />
Hardcover, 38.5 x 33 cm,<br />
96 pp, 120 duotone<br />
Beuys, Joseph<br />
Eurasienstab<br />
3–86521–194–1<br />
Slipcased,<br />
DVD with booklet,<br />
16.5 x 24 cm,<br />
56 pp, 35 text illus.<br />
Beuys, Joseph<br />
Honey is flowing in all<br />
directions<br />
3–88243–538–0<br />
Clothbound, 21 x 29.6<br />
cm, 104 pp, 93 duotone<br />
Broodthaers, Marcel<br />
Texte et Photos<br />
3–88243–852–5<br />
Clothbound, 23.5 x 28.5<br />
cm, 400 pp, 540 duotone<br />
and color<br />
Chapman, Jake and<br />
Dinos<br />
Insult to Injury<br />
3–88243–957–2<br />
Clothbound, 38 x 27.6<br />
cm, 176 pp, 80 color<br />
Comte, Michel<br />
People and Places<br />
with no Name<br />
3–88243–704–9<br />
Hardcover, 26.5 x 33.5<br />
cm, 400 pp,<br />
380 duotone and color<br />
Beuys, Joseph<br />
Mit dummen Fragen<br />
fängt jede Revolution an<br />
3–88243–446–5<br />
Hardcover, 30 x 21.5 cm,<br />
192 pp<br />
Out of print<br />
Burke, Bill<br />
Ehemals Privatbesitz<br />
— Indochina und sein<br />
koloniales Erbe<br />
3–88243–955–6<br />
Clothbound, 34 x 26.3<br />
cm, 184 pp, 98 tritone<br />
Coddington, Grace<br />
Grace — Thirty Years of<br />
Fashion at Vogue<br />
3–88243–818–5<br />
Clothbound, 28.5 x 36.5<br />
cm, 400 pp, 148<br />
duotone, 163 color<br />
Comte, Michel<br />
Charlie Chaplin.<br />
A Photo Diary<br />
3–88243–792–8<br />
Clothbound, 26.4 x<br />
32 cm, 480 pp, 203<br />
duotone, 25 color<br />
Beuys, Joseph<br />
Transsibirische Bahn<br />
3–88243–998–X<br />
Slipcased, DVD with<br />
booklet, 16.5 x 24 cm,<br />
32 pp, 12 text illus.<br />
Burtynsky, Edward<br />
China<br />
3–86521–130–5<br />
Clothbound, 38.1 x 30.5<br />
cm, 180 pp,<br />
80 color<br />
Cohen, Stéphanie,<br />
Augustyniak, Mathias<br />
“Désir d’une femme pour<br />
un homme”, poèmes<br />
futiles<br />
3–86521–160–7<br />
Hardcover, 28.5 x 38 cm,<br />
52 pp, 13 illus.<br />
Comte, Michel<br />
Charlie Chaplin.<br />
Un album photo<br />
3–88243–859–2<br />
Clothbound, 26.4 x<br />
32 cm, 480 pp, 203<br />
duotone, 25 color<br />
Bohm, Dorothy<br />
Breaks in<br />
Communication<br />
3–88243–813–4<br />
Softcover, 24.4 x 33 cm,<br />
132 pp, 95 color<br />
Byrne, David<br />
Envisioning Emotional<br />
Epistemological<br />
Information<br />
3–88243–9<strong>07</strong>–6<br />
Slipcased, 35 x 26.6 cm,<br />
96 pp, color<br />
Collins, Michael<br />
Record Pictures<br />
3–86521–031–7<br />
Clothbound, 25.5 x 30<br />
cm, 128 pp, 60 color<br />
Comte, Michel<br />
Michael Schumacher:<br />
Driving Force<br />
3–88243–889<br />
Hardcover, 19.5 x<br />
26 cm, 192 pp, 68<br />
duotone, 22 color<br />
Bourdin, Guy<br />
A MESSAGE FOR YOU<br />
3–86521–197–6<br />
Two vols in case, 26.5 x<br />
27.5 cm, vol I: 168 pp,<br />
75 color, vol II: 144 pp,<br />
multiple plates<br />
Capa, Cornell<br />
JFK for President<br />
3–86521–<strong>06</strong>4–3<br />
Softcover, 20.5 x 25.4<br />
cm, 152 pp, 110 color<br />
Colom, Joan<br />
RAVAL<br />
3–86521–324–3<br />
Hardcover, 20 x 24 cm,<br />
156 pp, 85 duotone<br />
Comte, Michel<br />
Michael by Michel<br />
3–88243–898.3<br />
Clothbound, 22.7 x 28.6<br />
cm, 120 pp,<br />
64 tritone<br />
Brohm, Joachim<br />
Areal<br />
3–88243–878–9<br />
Clothbound, 20.4 x 26.6<br />
cm, 264 pp,<br />
2<strong>06</strong> color<br />
Carucci, Elinor<br />
Diary of a Dancer<br />
3–86521–155–0<br />
Hardcover, 20.3 x 29.7<br />
cm, 96 pp,<br />
72 color<br />
Comte, Michel<br />
Aiko T.<br />
3–88243–702–2<br />
Slipcased, 32 x 32 cm,<br />
124 pp, 56 duotone<br />
Coulon, Gilles<br />
White Night<br />
3–86521–025–2<br />
Clothbound, 30 x 24 cm,<br />
80 pp, 36 color<br />
180 Back Catalogue. For more information go to www.steidlville.com / www.steidl.de<br />
181
Davidson, Bruce<br />
England and Scotland,<br />
1960<br />
3–86521–127–5<br />
Clothbound, 23.5 x 27<br />
cm, 192 pp, 120 tritone<br />
Dean, Tacita<br />
Seven Books<br />
3–88243–870–3<br />
Seven volumes,<br />
Slipcased, 19.2 x 26 cm,<br />
296 pp, 375 color<br />
Dewitz, Bodo von<br />
Unter Schienen<br />
schweben<br />
3–88243–667–0<br />
Hardcover, 26 x 21 cm,<br />
112 pp, 80 duotone, 40<br />
text illus.<br />
Out of print<br />
Dine, Jim<br />
Entrada Drive<br />
3–86521–080–5<br />
Clothbound, 29.5 x 31.5<br />
cm, 48 pp,<br />
44 tritone<br />
Dawid<br />
Beautiful Frames<br />
3–88243–724–3<br />
Hardcover, 17 x 22 cm,<br />
416 pp, 250 duotone<br />
Devlin, Lucinda<br />
The Omega Suites<br />
3–88243–872–X<br />
Hardcover, 25 x 28 cm,<br />
80 pp, 30 color<br />
Dewitz, Bodo von /<br />
Nekes, Werner (eds.)<br />
Ich sehe was, was...<br />
3–88243–856–8<br />
Hardcover, 24 x 28 cm,<br />
528 pp, 300 color<br />
Dine, Jim<br />
Entrada Drive — Special<br />
Edition<br />
3–86521–251–4<br />
Slipcased with a Stone<br />
Lithograph, 29.5 x 31.5<br />
cm, 48 pp, 44 tritone<br />
Deakin, John<br />
London — Paris — Rom.<br />
Straßenfotografie<br />
3–88243–835–5<br />
Clothbound, 24 x 30 cm,<br />
208 pp, 192 duotone<br />
Devlin, Lucinda<br />
Water Rites<br />
3–88243–928–9<br />
Hardcover, 25 x 28 cm,<br />
112 pp, 48 color<br />
diCorcia, Philip-Lorca<br />
Heads<br />
3–88243–441–4<br />
Clothbound, 14.6 x 11.6<br />
cm, 44 pp, 18 color<br />
Dine, Jim<br />
The Photographs, So Far<br />
(vol. 1–4)<br />
3–88243–905–X<br />
Four hardback vol.s,<br />
slipcased, 21.3 x<br />
28.5 cm, 1046 pp, 548<br />
plates<br />
Deakin, John<br />
Londres — Paris —<br />
Rome. Photographies de<br />
la rue<br />
3–88243–836–3<br />
Clothbound, 24 x 30 cm,<br />
208 pp, 192 duotone<br />
Dewitz, Bodo von<br />
Die Reise zum Nil<br />
1849–1850<br />
3–88243–545–3<br />
Hardcover, 23.5 x 37 cm,<br />
228 pp, 125 duotone<br />
Out of print<br />
Diltz, Henry<br />
Rock On: The<br />
Photographs<br />
3–86521–215–8<br />
Clothbound, 24.1 x 29.2<br />
cm, 180 pp, 112 color<br />
Dine, Jim<br />
Some Drawings<br />
3–86521–119–4<br />
Clothbound, 27 x 28.6<br />
cm, 212 pp, 104 color<br />
Dean, Tacita<br />
Die Regimentstochter<br />
3–86521–202–6<br />
Handstitched softcover,<br />
15 x 22 cm, 64 pp, 36<br />
color<br />
Dewitz, Bodo von<br />
Beauty, Power, Vanity<br />
3–86521–235–2<br />
Clothbound, 24 x 33 cm,<br />
224 pp, 180 color<br />
Dine, Jim<br />
Birds<br />
3–88243–240–3<br />
Clothbound, 29.5 x 31.5<br />
cm, 88 pp, 36 tritone<br />
Dine, Jim<br />
This Goofy Life of<br />
Constant Mourning<br />
3–88243–967–X<br />
Clothbound, 21.5 x 25<br />
cm, 296 pp, 181 color<br />
Dean, Tacita<br />
Floh<br />
3–88243–673–5<br />
Clothbound, 24 x 29.7<br />
cm, 176 pp, 163<br />
duotone and color<br />
Dewitz, Bodo von<br />
Schatzhäuser der<br />
Photographie<br />
3–88243–624–7<br />
Hardcover, 23.5 x<br />
37 cm, 264 pp, 216<br />
duotone, 18 text illus.<br />
Out of print<br />
Dine, Jim<br />
Drawings of Jim Dine<br />
3–88243–999–8<br />
Clothbound, 29.7 x 31.3<br />
cm, 192 pp, 125 color,<br />
22 text illus.,<br />
Out of print<br />
Disfarmer, Mike<br />
Original Disfarmer<br />
Photographs<br />
3–86521–189–5<br />
Hardcover, 20 x 25 cm,<br />
240 pp, 209 color, 4 b/w<br />
50 Jahre/Years<br />
documenta 1955–2005<br />
3–86521–146–1<br />
Two vol.s, slipcased,<br />
21 x 29.7 cm, 416/240<br />
pp<br />
Elgort, Arthur<br />
Camera Crazy<br />
3–86521–027–9<br />
Hardcover, 36.8 x 22.5<br />
cm, 200 pp,<br />
150 color<br />
Eskildsen, Ute (ed.)<br />
Der fotografierte Mensch<br />
3–88243–958–0<br />
Softcover, 22.5 x 28 cm,<br />
152 pp, 116 duotone<br />
and color<br />
Figueroa, Alejandra<br />
Corpus<br />
3–88243–832–0<br />
Hardcover, 28 x 37 cm,<br />
88 pp, 69 tritone<br />
Doherty, Willie<br />
Extracts from a File<br />
3–88243–234–9<br />
Clothbound, 30 x 24 cm,<br />
88 pp, 40 duotone<br />
Enwezor, Okwui<br />
Snap Judgments:<br />
New Positions in<br />
Contemporary African<br />
Photography<br />
3–86521–224–7<br />
Clothbound, 24 x 32 cm,<br />
300 pp, 250 color<br />
Eskildsen, Ute (ed.)<br />
The Photographed<br />
Animal — Useful, Cute<br />
and Collected<br />
3–86521–209–3<br />
Hardcover, 22.5 x 28 cm,<br />
336 pp, 220 duotone, 78<br />
color<br />
Flick, Robbert<br />
Trajectories<br />
3–86521–018–X<br />
Clothbound,<br />
29.6 x 30 cm,<br />
304 pp, 225 color<br />
Drabble, Neil<br />
Tree Tops Tall<br />
3–88243–917–3<br />
Clothbound, 28 x 37 cm,<br />
96 pp, 40 color<br />
Out of print<br />
Epstein, Mitch<br />
Family Business<br />
3–88243–913–0<br />
Clothbound, 28 x 31.2<br />
cm, 294 pp, 5 duotone,<br />
316 color<br />
Eskildsen, Ute / Ruelfs,<br />
Esther (eds.)<br />
Zeitgenössische<br />
Deutsche Fotografie<br />
3–88243–880–0<br />
Hardcover, 22 x 27 cm,<br />
192 pp, 160 color<br />
Flimm, Jürgen<br />
/ Baus, Hermann and<br />
Clärchen<br />
Theaterbilder<br />
3–86521–248–4<br />
Hardcover, 26 x 21.5 cm,<br />
192 pp<br />
Eamon, Christopher (ed.)<br />
Anthony McCall: The<br />
Solid Light Films and<br />
Related Works<br />
3–86521–141–0<br />
Softcover, 22.9 x 28.5<br />
cm, 176 pp, 160 b/w,<br />
100 color<br />
Epstein, Mitch<br />
Recreation: American<br />
Photographs 1973–1988<br />
3–86521–084–8<br />
Clothbound, 28 x 42 cm,<br />
144 pp, 66 color<br />
Evers, Dunja<br />
Zustände<br />
3–88243–635–2<br />
Hardcover, 22 x 27 cm,<br />
96 pp, 39 color<br />
Florschuetz, Thomas<br />
Are you talking to me?<br />
3–86521–0<strong>06</strong>–6<br />
Softcover, 30 x 25 cm,<br />
160 pp, 105 color<br />
Edström, Anders<br />
waiting some birds a bus<br />
a woman...<br />
3–86521–032–5<br />
Two vol.s, slipcased, 26.8<br />
x 21 cm, 128 pp, 80<br />
color<br />
Eskildsen, Ute (ed.)<br />
“Wenn Berlin Biarritz<br />
wäre...”<br />
3–88243–519–4<br />
Softcover, 22.5 x 28 cm,<br />
168 pp, 167 duotone<br />
and color<br />
Faure, Nicolas<br />
Landscape A<br />
3–86521–212–3<br />
Hardcover, 23.6 x 29.5<br />
cm, 144 pp, 80 color<br />
François, Michel<br />
Die Pflanze in uns<br />
/ La plante en nous<br />
3–88243–765–0<br />
Hardcover, 18 x 26 cm,<br />
290 pp, 239 duotone<br />
and color<br />
Ehrenburg, Ilya /<br />
Lissitzky, El<br />
My Paris<br />
3–88243–927–0<br />
Hardcover, 18.5 x<br />
16 cm, 240 pp,<br />
125 duotone<br />
Eskildsen, Ute (ed.)<br />
Ein Bilderbuch, Museum<br />
Folkwang<br />
3–88243–881–9<br />
Hardcover, 25 x 28 cm,<br />
288 pp, 159 duotone<br />
and color<br />
Faure, Nicolas<br />
Paysages A<br />
3–86521–245–X<br />
Hardcover, 23.6 x 29.5<br />
cm, 144 pp, 80 color<br />
Essays über Robert<br />
Frank<br />
Urs Stahel et al. (ed.)<br />
3–86521–230–1176<br />
Softcover, 13 x 18 cm,<br />
176 pp, 12 b/w<br />
182 Back Catalogue. For more information go to www.steidlville.com / www.steidl.de<br />
183
Frank, Robert<br />
New York to Nova Scotia<br />
3–86521–013–9<br />
Hardcover, 22.7 x 30.4<br />
cm, 112 pp,<br />
27 duotone, 4 color<br />
Gan, Stephen /<br />
Schweitzer, Tobias<br />
Where will we meet<br />
next?<br />
3–88243–555–0<br />
Hardcover, 20 x 26 cm,<br />
256 pp, 147 color<br />
Gober, Robert<br />
A Robert Gober Lexicon<br />
3–86521–121–6<br />
Two vol.s, slipcased, 17 x<br />
24 cm, 131 illus.<br />
Hara, Cristóbal<br />
An Imaginary Spaniard<br />
3–88243–901–7<br />
Clothbound, 18 x 24 cm,<br />
96 pp, 63 color<br />
Frank, Robert<br />
Storylines<br />
3–86521–041–4<br />
Hardcover, 24.5 x 28 cm,<br />
240 pp, 225 duotone, 25<br />
color<br />
Germain, Julian<br />
For Every Minute you are<br />
Angry you lose Sixty<br />
Seconds...<br />
3–86521–<strong>07</strong>7–5<br />
Clothbound, 23.5 x 28<br />
cm, 72 pp, 40 color<br />
Gonzalez-Torres, Felix<br />
Felix Gonzalez-Torres<br />
3–86521–196–8<br />
Clothbound, 21.2 x 27.3<br />
cm, 320 pp, numerous<br />
color<br />
Hara, Cristóbal<br />
Ein Spanier zuviel<br />
3–88243–900–9<br />
Clothbound, 18 x 24 cm,<br />
96 pp, 63 color<br />
Friedlander, Lee<br />
At Work<br />
3–88243–827–4<br />
Clothbound, 30.5 x 28.8<br />
cm, 96 pp,<br />
231 duotone<br />
Gerz, Jochen<br />
Wenn sie alleine waren<br />
3–88243–854–1<br />
Hardcover, 19.5 x 25.2<br />
cm, 160 pp,<br />
100 duotone<br />
Graham, Paul<br />
American Night<br />
3–88243–919–X<br />
Clothbound, 35.5 x 27.9<br />
cm, 128 pp,<br />
60 color<br />
Harlech, Amanda (ed.)<br />
Alan Seeger. The<br />
Complete Works<br />
3–88243–751–0<br />
Two vol. and a booklet,<br />
Clothbound, 12 x 20 cm,<br />
480 pp, 15 duotone<br />
Friedlander, Lee<br />
Stems<br />
3–88243–908–4<br />
Clothbound, 25.3 x 30.4<br />
cm, 96 pp,<br />
65 tritone<br />
Gibson, Ralph<br />
Refractions<br />
3–86521–<strong>07</strong>9–1<br />
Softcover, 19.5 x 30.5<br />
cm, 48 pp, color<br />
Granet, André<br />
Décors éphémères /<br />
Temporary Installations<br />
3–86521–242–5<br />
Softcover, 24.5 x 33.5<br />
cm, 184 pp, 100 tritone<br />
Harrison, Martin (ed.)<br />
Ten out of Ten<br />
3–88243–440–6<br />
Clothbound, 25.5 x 27.5<br />
cm, 180 pp, 85 duotone,<br />
15 color<br />
Out of print<br />
Gallet, Gauthier<br />
Backstage & Frontrow<br />
3–86521–092–9<br />
Hardcover, 23,5 x 31 cm,<br />
272 pp, 220 color<br />
Gilbert, Odile<br />
Her Style<br />
3–88243–925–4<br />
Hardcover, 25 x 35 cm,<br />
264 pp, 330 color<br />
Hajek-Halke, Heinz<br />
Artist, Anarchist<br />
3–86521–134–8<br />
Clothbound, 26 x 33 cm,<br />
224 pp, 108 tritone<br />
Harrison, Martin (ed.)<br />
Fashion Faces Up<br />
3–88243–721–9<br />
Clothbound, 26 x 33 cm,<br />
288 pp, 167 duotone<br />
and color<br />
Out of print<br />
Gallwitz, Klaus /<br />
Schönfelder, Bettina (eds.)<br />
Förderband<br />
3–88243–834–7<br />
Clothbound, 21 x 25 cm,<br />
280 pp, 800 color<br />
Gindl, Jenö<br />
start — stop<br />
3–88243–971–8<br />
Softcover, 24 x 18 cm,<br />
128 pp, 42 duotone<br />
Hanzlová, Jitka<br />
Forest<br />
3–86521–210–7<br />
Clothbound, 24.6 x 33.4<br />
cm, 96 pp, 45 color<br />
Hase, Elisabeth<br />
Elisabeth Hase<br />
3–88243–903–3<br />
Hardcover, 22.5 x 25 cm,<br />
88 pp, 43 color<br />
Heidersberger, Heinrich<br />
Architekturphotographie<br />
1952–72<br />
3–88243–760–X<br />
Softcover, 21 x 27 cm,<br />
128 pp, 94 duotone<br />
Evelyn Hofer<br />
Susanne Breidenbach<br />
(ed.)<br />
3–86521–057–0<br />
Clothbound, 24 x 29 cm,<br />
312 pp, 76 tritone, 70<br />
color<br />
Horn, Roni<br />
Cabinet of<br />
3–88243–864–9<br />
Hardcover, 30.5 x 35.6<br />
cm, 76 pp, 36 color<br />
International Center of<br />
Photography (ed.)<br />
Strangers<br />
3–88243–929–7<br />
Softcover, 20.3 x 25.4<br />
cm, 288 pp, 300 color<br />
Out of print<br />
Heiting, Manfred (ed.)<br />
Zwischen Wissenschaft<br />
und Kunst<br />
3–88243–796–0<br />
Hardcover, 24 x 28 cm,<br />
320 pp, 220 duotone<br />
and color<br />
Holdsworth, Dan<br />
Dan Holdsworth<br />
3–86521–087–2<br />
Clothbound, 22 x 29 cm,<br />
112 pp, 80 color<br />
Horn, Roni / Stahel,<br />
Urs (ed.)<br />
If on a <strong>Winter</strong>’s Night...<br />
Roni Horn...<br />
3–88243–911–4<br />
Softcover, 17.2 x 22.9<br />
cm, 128 pp, 62 color<br />
Jasmin, Paul<br />
Lost Angeles<br />
3–86521–026–0<br />
Clothbound, 20.3 x 25.4<br />
cm, 120 pp, 36 duotone,<br />
57 color<br />
Hendricks, Peter<br />
Sehsüchtig, Sehnsüchtig<br />
3–88243–578–X<br />
Hardcover, 25.5 x 32 cm,<br />
96 pp, 40 color<br />
Horn, Roni<br />
Dictionary of Water<br />
3–88243–753–7<br />
Clothbound, 28 x 35.6<br />
cm, 200 pp, 96 color<br />
Horn, Roni<br />
Rings of Lispector<br />
(Agua Viva)<br />
3–86521–149–6<br />
Slipcased, 28.6 x 22.4<br />
cm, 24 pp, 18 color<br />
Johns, Jasper<br />
Catenary<br />
3–88243–162–3<br />
Clothbound, 25 x 30 cm,<br />
128 pp, 51 color, 30<br />
color text illus.<br />
Hendricks, Peter<br />
Good Copy<br />
3–88243–789–8<br />
Clothbound, 21 x 25.5<br />
cm, 144 pp, 108 color<br />
Horn, Roni<br />
Index Cixous, 2003–05<br />
3–86521–135–6<br />
Softcover, 14 x 20.5 cm,<br />
116 pp, 65 tritone, 15<br />
color<br />
Horn, Roni<br />
Wonderwater (Alice<br />
Offshore)<br />
3–86521–005–8<br />
Four vol.s, slipcased, 14<br />
x 19.7 cm, 652 pp<br />
Johnson, Robert Flynn<br />
anonymus – Rätselhafte<br />
Bilder ...<br />
3–86521–<strong>06</strong>7–8<br />
Hardcover, 24.8 x 24.8<br />
cm, 208 pp, 224 color<br />
Hill, David Octavius /<br />
Adamson, Robert<br />
Hill & Adamson<br />
3–88243–749–9<br />
Hardcover, 27 x 23.5 cm,<br />
320 pp, 213 duotone<br />
and color<br />
Out of print<br />
Horn, Roni<br />
Index Cixous (Cix Pax)<br />
— Special edition<br />
3–86521–205–0<br />
Slipcased with a C-Print,<br />
14 x 20.5 cm, 120 pp,<br />
65 tritone, 15 color<br />
Horn, Roni<br />
Her, Her, Her, & Her<br />
3–86521–035–X<br />
Softcover, 24 x 24 cm,<br />
128 pp, 120 duotone<br />
Joseph, Marc<br />
American Pitbull<br />
3–86521–094–5<br />
Softcover, 22 x 28 cm,<br />
248 pp, 80 duotone, 100<br />
color<br />
Hiromix<br />
Tokyo<br />
3–88243–575–5<br />
Hardcover, 17 x 22 cm,<br />
150 pp, 130 color<br />
Horn, Roni<br />
This is Me, This is You<br />
3–88243–798–7<br />
Hardcover, 18.5 x 23 cm,<br />
192 pp, 96 color<br />
Huebner Venezia, Carol<br />
Boxers<br />
3–86521–219–0<br />
Softcover, 23 x 26.5 cm,<br />
72 pp, 25 color and<br />
tritone<br />
Joseph, Marc<br />
American Pitbull<br />
3–88243–914–9<br />
Clothbound, 22 x 28 cm,<br />
248 pp, 80 duotone, 100<br />
color<br />
184 Back Catalogue. For more information go to www.steidlville.com / www.steidl.de<br />
185
Keel, Philipp<br />
Color<br />
3–88243–865–7<br />
Hardcover, 26.4 x 32.8<br />
cm, 140 pp, 85 color<br />
Lagerfeld, Karl<br />
Off the record<br />
3–88243–338–8<br />
Clothbound, 24.5 x 33.2<br />
cm, 240 pp,<br />
176 duotone<br />
Lagerfeld, Karl<br />
Visionen<br />
3–88243–445–7<br />
Clothbound, 35.5 x 26<br />
cm, 48 pp, 21 color<br />
Out of print<br />
Lagerfeld, Karl<br />
Parti Pris<br />
3–88243–620–4<br />
Softcover, 24.3 x 31 cm,<br />
96 pp, 34 color<br />
Out of print<br />
Kirchner, Ernst Ludwig<br />
The Photographic Work<br />
Roland Scott (ed.)<br />
3–86521–217–4<br />
Clothbound, 22 x 29.5<br />
cm, 288 pp, 360 tritone<br />
Lagerfeld, Karl<br />
Villa de Noailles<br />
3–88243–362–0<br />
Clothbound, 24.5 x 33.8<br />
cm,116 pp,<br />
122 duotone<br />
Out of print<br />
Lagerfeld, Karl<br />
Ein deutsches Haus<br />
3–88243–535–6<br />
Clothbound, 27 x<br />
29 cm, 96 pp,<br />
84 duotone<br />
Lagerfeld, Karl<br />
Vitra House<br />
3–88243–622–0<br />
Softcover, 20 x 20 cm,<br />
72 pp, 32 color<br />
Klochko, Deborah (ed.)<br />
Picturing Eden<br />
3–86521–2<strong>07</strong>–7<br />
Hardcover, 22.2 x 27.9<br />
cm, 192 pp, 160 color<br />
Lagerfeld, Karl<br />
Grunewald<br />
3–88243–365–5<br />
Hardcover, 21.7 x<br />
23.9 cm, 100 pp,<br />
86 duotone<br />
Lagerfeld, Karl<br />
Jako<br />
3–88243–544–5<br />
Slipcased, 14.5 x 21 cm,<br />
64 pp, 29 duotone<br />
Out of print<br />
Lagerfeld, Karl<br />
The House in the Trees<br />
3–88243–648–4<br />
Hardcover, 24.5 x 31 cm,<br />
56 pp, 32 color<br />
Out of print<br />
Kretschmer, Annelise<br />
Annelise Kretschmer<br />
3–88243–904–1<br />
Hardcover, 22.5 x 25 cm,<br />
88 pp, 52 color<br />
Lagerfeld, Karl<br />
Faust<br />
3–88243–371–X<br />
Clothbound, 16.2 x 22.5<br />
cm, 144 pp,<br />
63 duotone, 21 color<br />
Out of print<br />
Lagerfeld, Karl<br />
La Brochure<br />
3–88243–547–X<br />
Softcover, 14 x 20<br />
cm, 48 pp, 28 color<br />
Out of print<br />
Lagerfeld, Karl<br />
Modern Italian<br />
Architecture<br />
3–88243–661–1<br />
Two vol.s, slipcased, 24.5<br />
x 31 cm, 112 pp, 64<br />
color<br />
Kuhn, Mona<br />
Photographs<br />
3–86521–008–2<br />
Clothbound, 26.5 x 28.5<br />
cm, 108 pp,<br />
33 tritone, 20 color<br />
Lagerfeld, Karl<br />
Achillion<br />
3–88243–384–1<br />
Hardcover, 27 x 35 cm,<br />
96 pp, 67 color<br />
Out of print<br />
Lagerfeld, Karl<br />
L’Illusion de l’Ideal.<br />
Les Vases de Ciboure<br />
3–86521–<strong>07</strong>3–2<br />
Softcover, 25 x 35 cm,<br />
64 pp, 32 color<br />
Lagerfeld, Karl<br />
Escape from<br />
Circumstances<br />
3–88243–703–0<br />
Clothbound, 16.5 x 22.5<br />
cm, 48 pp, 19 duotone<br />
Lagerfeld, Karl<br />
7 Fantasmes of a<br />
Woman<br />
3–86521–186–0<br />
Clothbound, 21 x 27.5<br />
cm, 56 pp, 25 duotone<br />
Lagerfeld, Karl<br />
Schloßhotel<br />
3–88243–411–2<br />
Out of print<br />
Lagerfeld, Karl<br />
Casa Malaparte<br />
3–88243–564–X<br />
Clothbound, 24.5 x 31<br />
cm, 56 pp, 34 color<br />
Out of print<br />
Lagerfeld, Karl<br />
Waterdance/Bodywave<br />
3–88243–817–7<br />
Two vol.s, slipcased, 40 x<br />
31 cm, 80 pp, 85<br />
duotone<br />
Lagerfeld, Karl<br />
Aktstrakt<br />
3–88243–873–8<br />
Hardcover, 26.5 x 26.5 cm,<br />
32 pp, 13 tritone<br />
Lebeck, Robert<br />
Neugierig auf Welt<br />
3–88243–993–9<br />
Hardcover, 15 x 23 cm,<br />
368 pp, 273 duotone,<br />
21 color<br />
Liu Zheng<br />
The Chinese<br />
3–86521–037–6<br />
Hardcover, 25.4 x 25.4<br />
cm, 176 pp,<br />
120 tritone<br />
Malanga, Gerard<br />
Screen Tests Portraits<br />
Nudes 1964–1996<br />
3–88243–874–6<br />
Hardcover, 22.5 x<br />
27 cm, 200 pp,<br />
127 duotone<br />
Lagerfeld, Karl<br />
The S.L.ED<br />
3–88243–909–2<br />
Hardcover, 20.8 x 16.5<br />
cm, 80 pp, 33 duotone,<br />
10 color<br />
Lebeck, Robert / Dewitz,<br />
Bodo von<br />
Kiosk. A History of<br />
Photojournalism<br />
3–88243–791–X<br />
Hardcover, 25 x 28 cm,<br />
320 pp, 1200 color<br />
Ludwigson, Håkan<br />
Taken out of Context<br />
3–86521–082–1<br />
Clothbound, 28.8 x 35.5<br />
cm, 176 pp,<br />
89 color<br />
van Manen, Bertien<br />
Give me your Image<br />
3–86521–198–4<br />
Hardcover, 17 x 22 cm,<br />
144 pp, 72 color<br />
Lagerfeld, Karl<br />
A Portrait of Dorian Gray<br />
3–86521–015–5<br />
Clothbound, 25 x 26 cm,<br />
88 pp, four color<br />
Lebowitz, Fran<br />
Metropolitan Life /<br />
Social Studies<br />
3–88243–933–5<br />
Two vol.s, slipcased,<br />
12.7 x 20.3 cm, 352 pp<br />
Mackert, Gabriele / Matt,<br />
Gerald / Miessgang,<br />
Thomas<br />
Attack!<br />
3–88243–879–7<br />
Hardcover, 20.5 x 26 cm,<br />
192 pp, 120 color<br />
Marais, Stephane<br />
Beauty Flash<br />
3–88243–754–5<br />
Clothbound, 21 x 22.5<br />
cm, 156 pp, 240 color<br />
Larsson, Bernard<br />
Berlin — Hauptstadt der<br />
Republik<br />
3–88243–597–6<br />
Softcover, 24 x 28 cm,<br />
320 pp, 259 duotone<br />
Out of print<br />
Leiter, Saul<br />
Early Color<br />
3–86521–139–9<br />
Clothbound, 20 x 20 cm,<br />
176 pp, 100 color<br />
Magnum Photos<br />
Euro Visions<br />
3–86521–223–9<br />
Hardcover, 16.8 x 23.5<br />
cm, 208 pp, 380 color<br />
and text illustrations<br />
Christian Marclay<br />
Ferguson, Russell (ed.)<br />
3–88243–931–9<br />
Softcover, 20.3 x 25.4<br />
cm, 204 pp, 199 color<br />
Lebeck, Robert<br />
Vis-à-vis<br />
3–88243–649–2<br />
Hardcover, 26.5 x 29 cm,<br />
264 pp, 280 duotone<br />
Out of print<br />
Lerski, Helmar / Ebner,<br />
Florian<br />
Metamorphosen des<br />
Gesichts<br />
3–88243–808–8<br />
Softcover, 23 x 28.5 cm,<br />
112 pp, 240 duotone<br />
Magnum<br />
M2<br />
3–86521–147–X<br />
Softcover, 20 x 29 cm,<br />
144 pp, color<br />
Marden, Brice<br />
Paintings on Marble<br />
3–86521–163–1<br />
Clothbound, 21.8 x 22.8<br />
cm, 88 pp,<br />
32 color<br />
Lebeck, Robert<br />
Unverschämtes Glück<br />
3–88243–980–7<br />
Clothbound, 26 x 29 cm,<br />
272 pp, 233 color<br />
Leve, Manfred<br />
Leve sieht Beuys. Block<br />
Beuys — Photographs<br />
3–86521–001–5<br />
Clothbound, 29 x 30 cm,<br />
256 pp, 223 duotone<br />
Magnum<br />
MIRROR, MIRROR<br />
3–86521–148–8<br />
Softcover, 29 x 23 cm,<br />
120 pp, color<br />
Mark, Mary Ellen<br />
Falkland Road:<br />
Prostitutes of Bombay<br />
3–86521–128–3<br />
Clothbound, 32.6 x 28.4<br />
cm, 1<strong>06</strong> pp, 65 color<br />
186 Back Catalogue. For more information go to www.steidlville.com / www.steidl.de<br />
187
Mark, Mary Ellen<br />
Twins<br />
3–88243–948–3<br />
Clothbound, 27 x 33 cm,<br />
96 pp, 80 tritone<br />
Meatyard, Ralph E.<br />
/ Davenport, Guy<br />
Ralph Eugene Meatyard<br />
3–86521–<strong>06</strong>5–1<br />
Clothbound, 22 x 24 cm,<br />
300 pp, 220 tritone<br />
Meiselas, Susan<br />
Encounters with the Dani<br />
3–88243–930–0<br />
Hardcover, 21.1 x 27.7<br />
cm, 176 pp, 300 color<br />
Mikhailov, Boris<br />
Salt Lake<br />
3–88243–815–0<br />
Hardcover, 40 x 30 cm,<br />
80 pp, 65 tritone<br />
Matt, Gerald /<br />
Miessgang, Thomas<br />
Flash Afrique!<br />
3–88243–638–7<br />
Hardcover, 19,7 x 26 cm,<br />
112 pp, 57 duotone and<br />
color<br />
Medvedow, Jill / Meehan,<br />
C. Anne (eds.)<br />
ICA / Vita Brevis<br />
1998–2003<br />
3–88243–816–9<br />
Hardcover, 25 x 27.5 cm,<br />
160 pp, color<br />
Meiselas, Susan<br />
Carnival Strippers<br />
3–88243–954–8<br />
Clothbound, 27.3 x 23.4<br />
cm, 164 pp,<br />
78 tritone<br />
Mikhailov, Boris<br />
Look at me, I look at<br />
water<br />
3–88243–968–8<br />
Casebound, 38 x 30 cm,<br />
132 pp, color<br />
Matt, Gerald /<br />
Miessgang, Thomas /<br />
Kos, Wolfgang<br />
Go Johnny Go<br />
3–88243–979–3<br />
Softcover, 29.5 x 21 cm,<br />
200 pp, 176 color<br />
van der Meer, Hans<br />
European Fields: The<br />
Landscape of Lower<br />
League Football<br />
3–86521–191–7<br />
Clothbound hardback,<br />
26.8 x 38 cm, 176 pp,<br />
four color<br />
Mekas, Jonas<br />
Just like a Shadow<br />
3–88243–723–5<br />
Hardcover, 16 x 21 cm,<br />
224 pp, 156 color<br />
Out of print<br />
Misrach, Richard<br />
Pictures of Paintings<br />
3–88243–876–2<br />
Clothbound, 33.3 x 28.5<br />
cm, 128 pp,<br />
73 color<br />
McConnell, Gareth<br />
Gareth McConnell<br />
3–88243–977–7<br />
Flexicover, 22 x 29 cm,<br />
112 pp, 70 color<br />
van der Meer, Hans<br />
European Fields: The<br />
Landscape of Lower<br />
League Football<br />
3–86521–238–7<br />
Paperback, 21 x 29.7 cm,<br />
176 pp, four color<br />
Meunier, Sébastien<br />
Visual Pollution<br />
3–86521–093–7<br />
Clothbound, 33 x 24 cm,<br />
192 pp, color<br />
Miyamoto, Ryuji<br />
Ryuji Miyamoto<br />
3–88243–576–3<br />
Clothbound, 28 x<br />
19.5 cm, 156 pp,<br />
65 duotone<br />
McDean, Craig<br />
Lifescapes<br />
3–86521–033–3<br />
Hardcover, 38 x 26.7 cm,<br />
88 pp, 40 color<br />
van der Meer, Hans<br />
Terrains d’Europe:<br />
Paysages du football<br />
amateur<br />
3–86521–256–5<br />
Paperback, 21 x 29.7<br />
cm, 176 pp, four color<br />
Michel, Patrick James<br />
Five<br />
3–88243–826–6<br />
Hardcover, 25 x 33.5 cm,<br />
280 pp, 200 color<br />
Mocafico, Guido<br />
Venenum<br />
3–86521–012–0<br />
Four vol.s, slipcased, 24<br />
x 37.5 cm, limited edition<br />
McPherson, Larry E.<br />
Beirut City Center<br />
3–86521–218–2<br />
Clothbound, 23 x 26.5<br />
cm, 160 pp, 76 color<br />
van der Meer, Hans<br />
Spielfeld Europa.<br />
Landschaften der<br />
Fußball-Amateure<br />
3–86521–255–7<br />
Paperback, 21 x 29.7<br />
cm, 176 pp, four color<br />
Michener, Diana<br />
Dogs, Fires, Me<br />
3–86521–123–2<br />
Softcover, 22 x 27 cm,<br />
160 pp, 100 tritone<br />
Moï Ver<br />
Paris<br />
3–88243–820–7<br />
Softcover, 22.3 x<br />
29.3 cm, 80 pp,<br />
80 duotone<br />
Morath, Inge<br />
The Road to Reno<br />
3–86521–203–4<br />
Hardcover, 24 x 25 cm,<br />
144 pp, 60 tritone, 10<br />
color<br />
Müller, Konrad Rufus<br />
Gerhard Schröder<br />
3–88243–887–8<br />
Clothbound, 20 x 24 cm,<br />
96 pp, 80 tritone<br />
Nádas, Péter<br />
Own Death<br />
3–86521–010–4<br />
Clothbound, 18.5 x 26.2<br />
cm, 288 pp,<br />
161 color<br />
O’Brien, Abigail<br />
Die sieben Sakramente /<br />
The Seven Sacraments<br />
3–86521–004–X<br />
Hardcover, 25.5 x 34 cm,<br />
128 pp, 90 color<br />
Morgan, Jessica (ed.)<br />
Pulse: Art, Healing and<br />
Transformation<br />
3–88243–922–X<br />
Softcover, 19.6 x 26 cm,<br />
128 pp, 64 color<br />
Out of print<br />
Müller, Konrad Rufus<br />
/ Gloger, Katja<br />
Wladimir Putin<br />
3–88243–942–4<br />
Clothbound, 20 x 24 cm,<br />
144 pp, 70 tritone<br />
Nash, Graham<br />
Eye to Eye<br />
3–88243–960–2<br />
Clothbound, 24.1 x 28.6<br />
cm, 192 pp,<br />
142 tritone<br />
Odermatt, Arnold<br />
Karambolage<br />
3–88243–866–5<br />
Hardcover, 24 x<br />
32 cm, 408 pp,<br />
410 duotone<br />
Morris, Christopher<br />
My America<br />
3–86521–201–8<br />
Clothbound, 20 x 23 cm,<br />
180 pp, 112 color<br />
Müller, Marianne<br />
The Flock<br />
3–88243–969–6<br />
Softcover, 20.6 x 28.7<br />
cm, 112 pp, 40 duotone,<br />
44 color<br />
Shirin Neshat<br />
Britta Schmitz, Beatrice<br />
Stammer (ed.)<br />
3–86521–174–7<br />
Softcover, 19.5 x 26 cm,<br />
152 pp, 35 color<br />
O’Neill, Pat<br />
Views from Lookout<br />
Mountain<br />
3–86521–021–X<br />
Clothbound, 25.4 x 30.5<br />
cm, 240 pp, 24 duotone,<br />
216 color<br />
Morris, Robert<br />
Blind Time Drawings<br />
3–86521–144–5<br />
Softcover, 22.5 x 26.5 cm,<br />
192 pp, color<br />
Müller-Westernhagen,<br />
Marius<br />
Versuch dich zu erinnern<br />
3–88243–790–1<br />
Clothbound, 24 x 32 cm,<br />
376 pp, 250 duotone<br />
and color<br />
Noguchi, Isamu<br />
A Sculptor’s World<br />
3–88243–970–X<br />
Clothbound, 23.7 x 25.5<br />
cm, 260 pp,<br />
255 duotone, 13 color<br />
Orozco, Gabriel<br />
Photographs<br />
3–86521–020–1<br />
Clothbound, 24 x 30 cm,<br />
160 pp, 70 color<br />
Moulène, Jean-Luc<br />
Berlin<br />
3–88243–710–3<br />
Clothbound,<br />
20.7 x 16.5 cm, 288 pp,<br />
140 color<br />
Müller-Westernhagen,<br />
Marius<br />
Mein Herz, dein Blut<br />
3–88243–840–1<br />
Clothbound, 15.5 x 23<br />
cm, 64 pp, 17 color<br />
Nordström, Jockum<br />
En pinne i skogen /<br />
A Stick in the Wood<br />
3–86521–142–9<br />
Clothbound, 24.5 x 34<br />
cm, 96 pp, 100 color, 20<br />
text illus.<br />
Page, Tim<br />
The Mindful Moment<br />
3–88243–442–2<br />
Hardcover, 21.8 x 28 cm,<br />
240 pp, 136 duotone<br />
and color<br />
Müller, Konrad Rufus<br />
Terra cognita<br />
3–88243–756–1<br />
Clothbound, 26 x 31.5 cm,<br />
144 pp, 104 duotone<br />
Nádas, Péter<br />
Etwas Licht<br />
3–88243–647–6<br />
Clothbound,<br />
18.5 x<br />
26 cm, 288 pp,<br />
182 duotone<br />
Nozolino, Paulo<br />
Far Cry<br />
3–86521–122–4<br />
Clothbound, 24.8 x 32<br />
cm, 136 pp, 78 tritone<br />
Pam, Max<br />
Indian Ocean Journals<br />
3–88243–573–9<br />
Hardcover, 30 x<br />
32 cm, 192 pp,<br />
150 duotone<br />
Out of print<br />
188 Back Catalogue. For more information go to www.steidlville.com / www.steidl.de<br />
189
Parker, David<br />
The Phenomenal World<br />
3–88243–639–5<br />
Clothbound, 42 x 28.5<br />
cm, 40 pp, 12 tritone<br />
Phillips, C. / Rocco, V.<br />
(eds.)<br />
Modernist Photography<br />
The Daniel Cowin<br />
Collection at ICP<br />
3–86521–158–5<br />
Softcover, 22.3 x 25.4<br />
cm, 112 pp, 70 color<br />
Quinn, Marc<br />
Fourth Plinth<br />
3–86521–240–9<br />
Softcover, 22 x 27 cm,<br />
48 pp, 20 four color,<br />
10 b/w<br />
Reinartz, Dirk<br />
Deutschland durch<br />
die Bank<br />
3–88243–531–3<br />
Hardcover, 14.5 x<br />
21 cm, 226 pp,<br />
110 duotone<br />
Paulsen, Susan<br />
Tomatoes on the Back<br />
Porch<br />
3–86521–056–2<br />
Clothbound, 20 x 22 cm,<br />
74 pp, 33 duotone, 5<br />
color<br />
Polidori, Robert<br />
Havana<br />
3–88243–333–7<br />
Clothbound, 38.5 x 30<br />
cm, 160 pp, 152 color<br />
Rauschenberg, Robert<br />
Combines<br />
3–86521–145–3<br />
Clothbound, 24.8 x 31.1<br />
cm, 324 pp, 172 color,<br />
65 text illus.<br />
Reinartz, Dirk<br />
Innere Angelegenheiten<br />
3–88243–947–5<br />
Clothbound, 18.5 x 25<br />
cm, 128 pp, 87 color<br />
Penn, Irving<br />
Irving Penn — Objects<br />
for the Printed Page<br />
3–88243–529–1<br />
Clothbound, 21.8 x 27<br />
cm, 120 pp, 76 color<br />
Polidori, Robert<br />
Metropolis<br />
3–86521–<strong>07</strong>8–3<br />
Clothbound, 29.2 x 27.3<br />
cm, 144 pp,<br />
92 color<br />
Rautert, Timm<br />
Arbeiten<br />
3–88243–247–0<br />
Hardcover, 30 x 25 cm,<br />
126 pp, 118 duotone<br />
and color<br />
Reinartz, Dirk<br />
Besonderes<br />
Kennzeichen: Deutsch<br />
3–88243–156–3<br />
Clothbound, 21 x<br />
26.5 cm, 160 pp,<br />
100 duotone<br />
Perkovic, Slavica<br />
Betti, Kim, Irena, Slavika<br />
3–88243–779–0<br />
Softcover, 14 x 19 cm,<br />
144 pp, 130 color<br />
Out of print<br />
Polidori, Robert<br />
Zones of Exclusion: Pripyat<br />
and Chernobyl<br />
3–88243–921–1<br />
Clothbound, 38.5 x 30 cm,<br />
112 pp, 190 color<br />
Reed, Lou<br />
Emotion in Action<br />
3–88243–923–8<br />
Two vol., Slipcase, 21<br />
x 29.7 cm, 112 pp,<br />
47 duotone, 39 color<br />
Reinartz, Dirk / Graf von<br />
Krockow, Christian<br />
Kein schöner Land<br />
3–88243–127–X<br />
Clothbound, 29.3 x<br />
23 cm, 176 pp,<br />
78 duotone<br />
Petersen, Vinca<br />
No System<br />
3–88243–645–X<br />
Softcover, 24 x 29 cm,<br />
160 pp, 180 color<br />
Pozzi, Catherine<br />
Poèmes / Gedichte /<br />
Poems<br />
3–88243–821–5<br />
Clothbound, 13.5 x 21.2<br />
cm<br />
Reed, Lou<br />
Lou Reed’s New York<br />
3–86521–152–6<br />
Clothbound, 23 x 34 cm,<br />
192 pp, 100 color<br />
Reinartz, Dirk / Graf von<br />
Krockow, Christian<br />
Bismarck<br />
3–88243–175–X<br />
Hardcover, 16 x<br />
23.5 cm, 136 pp,<br />
51 duotone<br />
Petronio, Ezra<br />
Bold & Beautiful<br />
3–86521–154–2<br />
Softcover, 23.5 x 31 cm,<br />
300 pp, 270 color<br />
Pratt, Greta<br />
Using History<br />
3–86521–129–1<br />
Hardcover, 27.5 x 27 cm,<br />
88 pp, 65 color<br />
Reinartz, Dirk<br />
Künstler<br />
3–88243–224–1<br />
Clothbound, 29 x 25.5<br />
cm, 144 pp, 115 color<br />
Reinartz, Dirk / Graf von<br />
Krockow, Christian<br />
Totenstill<br />
3–88243–324–8<br />
Clothbound, 20.8 x 27.9<br />
cm, 296 pp,<br />
210 duotone<br />
Reinartz, Dirk / Runkel,<br />
Wolfram<br />
Bismarck in America<br />
3–88243–686–7<br />
Clothbound, 22 x 24 cm,<br />
104 pp, 72 color<br />
Richardson, Clare<br />
Harlemville<br />
3–88243–918–1<br />
Clothbound, 28 x 23 cm,<br />
96 pp, 40 color<br />
Rosenberg, Aura<br />
A Berlin Childhood /<br />
Berliner Kindheit<br />
3–88243–812–6<br />
Clothbound, 24 x 29.5<br />
cm, 176 pp, 160 color<br />
Rudolph, Charlotte<br />
Tanzfotografie<br />
1924–1939<br />
3–86521–045–7<br />
Hardcover, 22.5 x 25 cm,<br />
88 pp, 58 duotone<br />
Remy, Patrick<br />
Strip<br />
3–88243–548–8<br />
Hardcover, 16 x 22 cm,<br />
224 pp, 45 duotone, 165<br />
color<br />
Out of print<br />
Richon, Olivier<br />
Real Allegories<br />
3–86521–091–0<br />
Hardcover, 24 x 28 cm,<br />
144 pp, 77 color<br />
Roversi, Paolo<br />
Nudi<br />
3–88243–662–X<br />
Clothbound, 23 x 28.5<br />
cm, 128 pp, 50<br />
quatrotone<br />
Ruetz, Michael<br />
Sichtbare Zeit<br />
3–88243–449–X<br />
Clothbound, 34 x 25 cm,<br />
276 pp, 126 duotone,<br />
121 color<br />
Remy, Patrick<br />
Paradise<br />
3–88243–640–9<br />
Hardcover, 16.5 x 21.5<br />
cm, 220 pp, 161 color<br />
Out of print<br />
Rickett, Sophy<br />
Sophy Rickett<br />
3–86521–088–0<br />
Clothbound, 22 x 29 cm,<br />
112 pp, 80 color<br />
Roversi, Paolo<br />
Libretto<br />
3–88243–719–7<br />
Boxed, 15 x 21 cm, 32<br />
pp, 21 color<br />
Out of print<br />
Ruetz, Michael<br />
Cosmos<br />
3–88243–481–3<br />
Hardcover, 27.5 x 32 cm,<br />
180 pp, 140 color<br />
Remy, Patrick<br />
Desire<br />
3–88243–720–0<br />
Hardcover, 16 x 21 cm,<br />
224 pp, 174 color<br />
Out of print<br />
Roberts, Michael<br />
The Snippy World<br />
3–86521–151–8<br />
Clothbound, 26.6 x 34.9<br />
cm, 290 pp, color<br />
Roversi, Paolo<br />
Studio<br />
3–86521–164–X<br />
Clothbound, 28.4 x<br />
32 cm, 80 gatefold<br />
Ruetz, Michael<br />
Bibliothek der Augen<br />
3–88243–546–1<br />
Softcover, 20 x 29 cm,<br />
64 pp, 65 duotone<br />
Remy, Patrick<br />
Sensation<br />
3–88243–9<strong>06</strong>–8<br />
Hardcover, 15.9 x 20.9<br />
cm, 224 pp,<br />
156 color<br />
Robinson, Mary<br />
Half-Frame<br />
3–86521–034–1<br />
Clothbound, 25.5 x 23<br />
cm, 112 pp, 52 color<br />
Rovner, Michal<br />
Fields<br />
3–86521–216–6<br />
Hardcover, 21 x 16 cm,<br />
400 pp, full color<br />
Ruetz, Michael<br />
Windauge<br />
3–88243–777–4<br />
Clothbound, 25.3 x 29.5<br />
cm, 120 pp,<br />
48 duotone, 40 color<br />
Rheims, Bettina<br />
Morceaux Choisis<br />
3–88243–574–7<br />
Softcover, 18 x 14 cm,<br />
32 pp, 28 color<br />
Rødland, Torbjørn<br />
White Planet, Black<br />
Heart<br />
3–86521–222–0<br />
Clothbound hardback<br />
with dustjacket,<br />
19.5 x 30.5 cm, 112 pp,<br />
four color<br />
Rovner, Michal<br />
The Space Between<br />
3–88243–828–2<br />
Hardcover, 24 x 26.5 cm,<br />
288 pp, 469 color<br />
Ruscha, Ed<br />
Catalogue Raisonné of<br />
the Paintings Vol. 1:<br />
1958–1970<br />
3–88243–972–6<br />
Clothbound, 24.1 x 29.2<br />
cm, 464 pp, 10 duotone,<br />
161 color<br />
190 Back Catalogue. For more information go to www.steidlville.com / www.steidl.de<br />
191
Ruscha, Ed<br />
Catalogue Raisonné of<br />
the Paintings Vol. 2:<br />
1971–1982<br />
3–86521–138–0<br />
Clothbound, 24.1 x 29.2<br />
cm, 408 pp, 13 b/w, 304<br />
color<br />
Ruscha, Paul<br />
Paul Ruscha’s Full Moon<br />
3–86521–231–X<br />
Softcover, 16.5 x 24 cm,<br />
184 pp, full color<br />
Schlapper, Fee<br />
Porträtfotografie<br />
1952–1997<br />
3–86521–046–5<br />
Hardcover, 22.5 x 25 cm,<br />
88 pp, 58 duotone<br />
Schwartz, Daniel (ed.)<br />
Geschichten von der<br />
Globalisierung<br />
3–88243–941–6<br />
Softcover, 20.5 x 26.5<br />
cm, 256 pp, 225 duotone<br />
and color<br />
Ruscha, Ed<br />
Cotton Puffs, Q-Tips ®,<br />
Smoke and Mirrors. The<br />
Drawings<br />
3–88243–965–3<br />
Clothbound, 28 x 28 cm,<br />
256 pp, 230 color<br />
Saliba, Robert<br />
Beirut City Center<br />
Recovery<br />
3–88243–978–5<br />
Clothbound, 24 x 33.3<br />
cm, 274 pp, 86 duotone,<br />
313 color<br />
Schlöndorff, Volker<br />
Der Unhold<br />
3–88243–425–2<br />
Hardcover, 12 x 17 cm,<br />
160 pp, four color<br />
throughout<br />
Out of print<br />
Scully, Sean<br />
The Color of Time<br />
3–88243–961–0<br />
Clothbound, 33.3 x 22.7<br />
cm, 208 pp,<br />
190 color<br />
Ruscha, Ed<br />
Ed Ruscha,<br />
Photographer<br />
3–86521–2<strong>06</strong>–9<br />
Clothbound, 20.5 x 25.5<br />
cm, 184 pp, 214<br />
illustrations<br />
Sander, August<br />
Zeitgenossen<br />
3–88243–750–2<br />
Clothbound, 28.5 x 21.5<br />
cm, 248 pp, 222 duotone<br />
and color<br />
Out of print<br />
Schmidt, Michael<br />
Berlin nach 45<br />
3–86521–090–2<br />
Clothbound, 29 x<br />
23.5 cm, 144 pp,<br />
54 duotone<br />
Seelig, Thomas / Stahel,<br />
Urs (eds.)<br />
Im Rausch der Dinge<br />
3–86521–<strong>06</strong>3–5<br />
Clothbound, 24 x 30 cm,<br />
400 pp, 472 color<br />
Out of print<br />
Ruscha, Ed<br />
Ed Ruscha, Photographe<br />
3–86521–257–3<br />
Clothbound, 20.5 x 25.5<br />
cm, 184 pp, 214<br />
illustrations<br />
Sayn-Wittgenstein-Sayn,<br />
Marianne<br />
Mamarazza<br />
3–88243–7<strong>06</strong>–5<br />
Slipcased, 25 x 32 cm,<br />
240 pp, 2000 color<br />
Out of print<br />
Schneider, Gregor<br />
Die Familie Schneider<br />
3–86521–236–0<br />
Clothbound, 17 x 24 cm,<br />
184 pp, tritone<br />
Seelig, Thomas / Stahel,<br />
Urs (eds.)<br />
The Ecstasy of Things<br />
3–86521–085–6<br />
Hardcover, 24 x 30 cm,<br />
400 pp, 472 color<br />
Ruscha, Ed / Wolf,<br />
Sylvia (ed.)<br />
Ed Ruscha and<br />
Photography<br />
3–86521–017–1<br />
Clothbound, 20.3 x<br />
28 cm, 256 pp, 211<br />
duotone, 79 color<br />
Out of print<br />
Schifferli, Christoph (ed.)<br />
The Japanese Box<br />
3–88243–301–9<br />
Six facsimile publications<br />
and text booklet in<br />
wooden box<br />
Out of print<br />
Schorr, Collier<br />
Jens F.<br />
3–86521–156–9<br />
Slipcased, 24 x 27.8 cm,<br />
96 pp, 40 color<br />
Serra, Richard<br />
The Matter of Time<br />
3–86521–137–2<br />
Clothbound, 24 x 29 cm,<br />
212 pp, 80 duotone, 100<br />
color<br />
Ruscha, Ed<br />
THEN & NOW<br />
3–86521–105–4<br />
Slipcased, 45 x 32 cm,<br />
152 pp, color<br />
Schifferli, Christoph (ed.)<br />
Paper Dreams. The Lost<br />
Art of Hollywood Still<br />
Photography<br />
3–86521–153–4<br />
Softcover, 29 x 25 cm,<br />
112 pp, 50 tritone<br />
Schwarberg, Günther<br />
In the Ghetto of Warsaw<br />
3–88243–214–4<br />
Hardcover, 22 x 27 cm,<br />
192 pp, 148 duotone<br />
Serra, Richard<br />
Sculpture 1985–1998<br />
3–88243–623–9<br />
Clothbound, 25.5 x 30.2<br />
cm, 240 pp,<br />
250 duotone<br />
Out of print<br />
Serra, Richard<br />
Torqued Spirals, Toruses<br />
and Spheres<br />
3–88243–633–6<br />
Clothbound, 24 x<br />
29.5 cm, 64 pp,<br />
44 duotone<br />
Sidén, Ann-Sofi<br />
In Between the Best of<br />
Worlds<br />
3–86521–086–4<br />
Hardcover, 23 x 29 cm,<br />
184 pp, 150 color<br />
Slimane, Hedi<br />
Stage<br />
3–86521–024–4<br />
Clothbound, 36 x<br />
20 cm, 396 pp,<br />
286 tritone<br />
Soth, Alec<br />
Sleeping by the<br />
Mississippi<br />
3–86521–0<strong>07</strong>–4<br />
Clothbound, 28.5 x 27.5<br />
cm, 120 pp,<br />
46 color<br />
Serra, Richard / Reinartz,<br />
Dirk<br />
Te Tuhirangi Contour<br />
3–86521–014–7<br />
Clothbound, 24 x 22 cm,<br />
76 pp, 40 duotone<br />
Sidibé, Malick<br />
Photographs<br />
3–88243–973–4<br />
Clothbound, 29.6 x 30<br />
cm, 108 pp, 64 tritone<br />
Solomon, Rosalind<br />
Chapalingas<br />
3–88243–877–0<br />
Clothbound, 25 x 28.5<br />
cm, 464 pp, 204 duotone<br />
Southworth & Hawes<br />
Young America: The<br />
Daguerreotypes of<br />
Southworth & Hawes<br />
3–86521–<strong>06</strong>6–X<br />
Hardcover, 25.4 x 30.5<br />
cm, 356 pp, 150 color,<br />
2,000 b/w<br />
Serra, Richard / Reinartz,<br />
Dirk<br />
Afangar<br />
3–88243–2<strong>06</strong>–3<br />
Clothbound, 29 x<br />
25.4 cm, 78 pp,<br />
55 duotone<br />
Singh, Dayanita<br />
Privacy<br />
3–88243–962–9<br />
Clothbound, 20 x<br />
24 cm, 128 pp,<br />
90 duotone<br />
Serra, Richard<br />
Dirk’s Pod<br />
3–86521–089–9<br />
Clothbound, 24.5 x 26<br />
cm, 128 pp, 50 tritone<br />
Sischy, Ingrid / Brant,<br />
Sandra (eds.)<br />
Andy Warhol’s Interview<br />
3–86521–023–6<br />
7 vol.s in a wooden crate,<br />
20 x 38,5 cm, 1488 pp<br />
Solomon, Rosalind Sondergaard, Trine<br />
Polish Shadow<br />
Now That You Are Mine<br />
3–86521–199–2<br />
3–88243–823–1<br />
Softcover, 16.5 x 23 cm, 80 Clothbound, 28.7 x 26.7<br />
pp, 60 tritone<br />
cm, 72 pp, 33 color<br />
Spagnoli, Jerry<br />
Daguerreotypes<br />
3–86521–200–X<br />
Softcover, 29 x 29 cm,<br />
56 pp, 112 color<br />
Specker, Heidi<br />
Im Garten<br />
3–86521–140–2<br />
Softcover, 24 x 28 cm,<br />
96 pp, 46 color<br />
Shafran, Nigel<br />
Nigel Shafran<br />
3–88243–976–9<br />
Flexicover, 22 x 29 cm,<br />
112 pp, 20 duotone, 50<br />
color<br />
Slimane, Hedi<br />
Berlin<br />
3–88243–924–6<br />
Slipcased, 20.2 x 25.3<br />
cm, 156 pp, 92 tritone<br />
THE MACHINE<br />
Sorrenti, Mario<br />
The Machine<br />
3–88243–793–6<br />
Clothbound, 24 x 28 cm,<br />
128 pp, 95 color<br />
Staeck, Klaus<br />
Beuys und die Fettecke<br />
3–88243–089–3<br />
Softcover, 21 x 29.7 cm,<br />
64 pp<br />
Out of print<br />
Sheikh, Fazal<br />
Moksha<br />
3–86521–125–9<br />
Clothbound, 26.7<br />
x 33 cm, 220 pp,<br />
170 tritone<br />
Slimane, Hedi<br />
London Birth of a Cult<br />
3–86521–169–0<br />
Softcover, 22 x 27 cm,<br />
164 pp, 140 tritone, 5<br />
color<br />
Soth, Alec<br />
Niagara<br />
3–86521–233–6<br />
Clothbound, 23 x 26.5<br />
cm, 144 pp, 50 color<br />
Staeck, Klaus<br />
Frohe Zukunft<br />
3–86521–044–9<br />
Clothbound, 24 x 31 cm,<br />
184 pp, 128 color<br />
192 Back Catalogue. For more information go to www.steidlville.com / www.steidl.de<br />
193
Staeck, Klaus<br />
Ohne Auftrag<br />
3–88243–739–1<br />
Hardcover, 24 x 31 cm,<br />
288 pp, 311 duotone,<br />
118 color<br />
Sternfeld, Joel<br />
Treading on Kings<br />
3–88243–837–1<br />
Softcover, 28 x 22.5 cm,<br />
96 pp, 40 color<br />
Taylor-Wood, Sam<br />
Crying Men<br />
3–86521–039–2<br />
Clothbound, 30 x 38 cm,<br />
56 pp, 24 color<br />
Teller, Juergen<br />
Zwei Schäuferle<br />
mit Kloß ...<br />
3–88243–899–1<br />
Clothbound, 21 x<br />
27 cm, 76 pp, 11<br />
duotone, 36 color<br />
Staeck, Klaus<br />
Pornografie<br />
3–88243–124–5<br />
Softcover, 20 x 25 cm,<br />
392 pp, 295 b/w<br />
Sternfeld, Joel<br />
American Prospects<br />
3–88243–915–7<br />
Clothbound, 36.8<br />
x 29.8 cm, 140 pp,<br />
65 color<br />
Teller, Juergen /<br />
Rampling, Charlotte<br />
Louis XV / Ich bin vierzig<br />
3–86521–<strong>06</strong>2–7<br />
Hardcover, 29.7 x 23.8<br />
cm, 56 pp, 28 color<br />
Teller, Juergen<br />
Nackig auf dem<br />
Fußballplatz<br />
3–88243–963–7<br />
Softcover, 27.3 x 20.4<br />
cm, 184 pp, 82 video<br />
stills, 1 duotone,<br />
9 color<br />
Steenerson, Mark<br />
The Cement War<br />
3–86521–016–3<br />
Clothbound, 29.5 x 27.5<br />
cm, 126 pp, 76 duotone,<br />
numerous drawings<br />
Sternfeld, Joel<br />
Sweet Earth:<br />
Experimental Utopias in<br />
America<br />
I3–86521–124–0<br />
Clothbound, 30.5<br />
x 25.5 cm, 136 pp,<br />
60 color<br />
Teller, Juergen<br />
Märchenstüberl<br />
3–88243–863–0<br />
Hardcover, 27 x 21 cm,<br />
144 pp, 140 color<br />
Teller, Juergen / Seymour,<br />
Stephanie<br />
More<br />
3–88243–530–5<br />
Softcover, 38 x 28 cm,<br />
32 pp, 7 duotone, 18<br />
color<br />
Steiner, Albert<br />
The Photographic Work<br />
3–86521–204–2<br />
Clothbound, 30 x 32 cm,<br />
240 pp, 136 color<br />
Strömholm, Christer<br />
Poste Restante<br />
3–86521–220–4<br />
Paperback in a<br />
handmade box, 25 x 20.5<br />
cm, 120 pp, 96 tritone<br />
Teller, Juergen<br />
Nürnberg<br />
3–86521–132–1<br />
Clothbound, 35 x 28 cm,<br />
120 pp, 60 color<br />
Tellgren, Anna (ed.)<br />
Portraits: Arbus, Model,<br />
Strömholm<br />
3–86521–143–7<br />
Softcover, 26.2 x<br />
26.8 cm, 160 pp,<br />
100 tritone<br />
Steinert, Otto<br />
Der Fotograf Otto<br />
Steinert<br />
3–88243–698–0<br />
Hardcover, 24.5 x 30.5<br />
cm, 240 pp,<br />
285 duotone<br />
Tabrizian, Mitra<br />
Beyond the Limits<br />
3–86521–002–3<br />
Hardcover, 28.8 x 24.1<br />
cm, 128 pp, 13 duotone,<br />
56 color<br />
Teller, Juergen, Sherman,<br />
Cindy and Jacobs, Marc<br />
Ohne Titel<br />
3–86521–195–X<br />
Clothbound, 25 x 32 cm,<br />
48 pp, 29 color<br />
Trager, Philip<br />
Faces<br />
3–86521–131–3<br />
Softcover, 26 x 33 cm,<br />
48 pp, 30 tritone<br />
Sternfeld, Joel<br />
Walking the High Line<br />
3–88243–726–X<br />
Clothbound, 26 x 21.5<br />
cm, 56 pp, 5 duotone, 28<br />
color<br />
Taylor-Wood, Sam<br />
Sam Taylor-Wood<br />
3–88243–830–4<br />
Hardcover, 24 x 29 cm,<br />
256 pp, 120 color<br />
Teller, Juergen<br />
The Master<br />
3–86521–104–6<br />
Softcover<br />
17.5 x 23 cm, 26 pp, 33<br />
color<br />
Tunbjörk, Lars<br />
Home<br />
3–88243–868–1<br />
Clothbound, 28.8 x 27.4<br />
cm, 1<strong>06</strong> pp,<br />
49 color<br />
Tupitsyn, Margarita<br />
Gustav Klutsis and<br />
Valentina Kulagina<br />
3–88243–974–2<br />
Hardcover, 30.5 x 25.4<br />
cm, 256 pp,<br />
260 color<br />
Wall, Jeff<br />
Photographs<br />
3–88243–867–3<br />
Clothbound, 27 x 26 cm,<br />
156 pp, 7 tritone, 28<br />
color<br />
Wessel, Henry<br />
California and the<br />
West…<br />
3–86521–133–X<br />
Five vol.s, slipcased,<br />
25 x 24 cm<br />
Wolf, Michael<br />
Hongkong<br />
3–86521–190–9<br />
Hardcover, 28 x 37 cm,<br />
120 pp, 71 color plates<br />
Visionaire<br />
Dreaming in Print<br />
3–88243–819–3<br />
Clothbound, 34 x 28 cm,<br />
220 pp, 400 color<br />
Out of print<br />
Walser, Andreas<br />
Liebe, Traum & Tod<br />
Roland Scotti (ed.)<br />
3–86521–254–9<br />
Hardcover, 26 x 21.5 cm,<br />
112 pp, 76 color<br />
White Cube<br />
44 Duke Street, St.<br />
James’s, London<br />
3–88243–869–X<br />
Two vol.s, slipcased, 2.5<br />
x 27 cm, 508 pp, 558<br />
color<br />
Wood, Tom<br />
Photie Man<br />
3–86521–083–X<br />
Clothbound, 21.5 x<br />
28 cm, 224 pp, 68<br />
tritone, 1<strong>06</strong> color<br />
Visionaire (ed.)<br />
V-Best. Best of V<br />
Magazine<br />
3–86521–028–7<br />
Two vol.s, slipcased, 29.2<br />
x 41.3 cm, 300 pp, color<br />
Warhol, Andy<br />
Red Books<br />
3–86521–019–8<br />
Twelve spiralbound<br />
booklets, Boxed, 14 x 8.9<br />
cm, 120 pp, 200 color<br />
Whitney Museum of<br />
American Art<br />
2004 Biennial Catalogue<br />
3–88243–966–1<br />
One vol. and box with<br />
multiples, 29.2 x 29.2<br />
cm, 304 pp, 160 color<br />
Out of print<br />
Wool, Christopher<br />
9th Street Run Down<br />
3–88243–768–5<br />
Softcover, 39 x 30 cm,<br />
96 pp, 44 color<br />
Vitali, Massimo<br />
Beach & Disco<br />
3–88243–875–4<br />
Clothbound, 28 x 27 cm,<br />
144 pp, 63 color<br />
Warhol, Andy<br />
Warhol’s World<br />
3–86521–241–7<br />
Softback, 25.5 x 25.5<br />
cm, 224 pp, 300 tritone<br />
Wiedenhöfer, Kai<br />
Perfect Peace<br />
3–88243–814–2<br />
Hardcover, 24.5<br />
x 33 cm, 174 pp,<br />
125 duotone<br />
Wu Hung / Phillips,<br />
Christopher (eds.)<br />
Between Past and Future<br />
3–86521–036–8<br />
Hardcover, 22.9 x 27.9<br />
cm, 232 pp, 115 color<br />
Vitali, Massimo<br />
Landscape with Figures<br />
3–88243–912–2<br />
Clothbound, 38.5 x 30<br />
cm, 300 pp, 150 color<br />
Warwicker, John<br />
The Floating World:<br />
Ukiyo-e<br />
3–86521–030–9<br />
Silkbound, 23.5 x 19.5<br />
cm, 400 pp, color<br />
Winogrand, Garry<br />
Arrivals & Departures:<br />
The Airport Pictures<br />
3–88243–860–6<br />
Clothbound, 28<br />
x 26 cm, 112 pp,<br />
1<strong>07</strong> duotone<br />
Yamamoto, Yohji<br />
Talking to Myself<br />
3–88243–825–8<br />
Two sewn bookblocks in<br />
a sleeve, 25 x 33 cm,<br />
316 pp, 210 duotone,<br />
94 color<br />
Wall, Jeff<br />
Catalogue Raisonné<br />
3–86521–136–4<br />
Clothbound, 25 x 30 cm,<br />
500 pp, 120 color, 92<br />
reference images<br />
Weingarten, Robert<br />
Another America<br />
3–86521–011–2<br />
Clothbound, 24<br />
x 30 cm, 240 pp,<br />
80 duotone<br />
Wolf, Michael<br />
Sitting in China<br />
3–88243–670–0<br />
Clothbound, 22.8 x 17<br />
cm, 160 pp, 100 color<br />
194 Back Catalogue. For more information go to www.steidlville.com / www.steidl.de<br />
195<br />
Yamawaki, Iwao<br />
Iwao Yamawaki<br />
3–88243–642–5<br />
Clothbound, 35 x<br />
28 cm, 138 pp,<br />
65 duotone
Distribution<br />
Germany, Austria and Switzerland<br />
Verlag:<br />
Gerhard <strong>Steidl</strong><br />
Druckerei und Verlag<br />
Düstere Straße 4<br />
37<strong>07</strong>3 Göttingen<br />
Tel: (0551) 49 60 60<br />
Fax: (0551) 49 60 649<br />
mail@steidl.de<br />
www.steidl.de<br />
AUSSENDIENST<br />
DEUTSCHLAND<br />
Schleswig-Holstein,<br />
Hamburg, Bremen,<br />
Niedersachsen<br />
Konrad Singer<br />
Am Stein 1<br />
22337 Hamburg<br />
TEL. (040) 598226<br />
FAX (040) 505302<br />
Berlin, Mecklenburg-<br />
Vorpommern,<br />
Brandenburg<br />
Heinz Zirk<br />
Carmerstraße 14<br />
1<strong>06</strong>23 Berlin<br />
TEL. (030)31864220<br />
FAX (030)31864229<br />
Sachsen-Anhalt,<br />
Sachsen, Thüringen<br />
Vera Grambow<br />
Christianstr. 7<br />
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TEL. (0341)9114<strong>07</strong>8<br />
FAX (0341)9015414<br />
Vera.Grambow@t-online.de<br />
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Gerd Wagner<br />
Poststr. 39<br />
41334 Nettetal-Kaldenkirchen<br />
TEL. (02157)124701<br />
FAX (02157)124702<br />
wagnergerd@aol.com<br />
Benedikt Geulen<br />
Meertal 122<br />
41464 Neuss<br />
TEL. (02131)1255990<br />
FAX (02131)1257944<br />
benedikt.geulen@t-online.de<br />
Lieferbedingungen<br />
Die Ware bleibt bis zur vollständigen<br />
Bezahlung unser Eigentum.<br />
Reklamationen werden nur anerkannt,<br />
wenn sie innerhalb von 8 Tagen nach<br />
Erhalt der Ware gemeldet werden.<br />
Gerichtsstand Göttingen.<br />
Vertrieb,<br />
Kundenbetreuung:<br />
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Tel: (0551) 49 60 616<br />
Fax: (0551) 49 60 649<br />
fsprenger@steidl.de<br />
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c/o BüroServiceBuch<br />
Spohrstraße 3<br />
60318 Frankfurt a.M.<br />
TEL. (<strong>06</strong>9)95528321<br />
FAX (<strong>06</strong>9)95528310<br />
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79114 Freiburg<br />
TEL. (<strong>07</strong>61)84220<br />
FAX (<strong>07</strong>61)8<strong>06</strong>834<br />
edwingantert@web.de<br />
Bayern<br />
Günter Schubert<br />
c/o Vertreterbüro Jens Müller<br />
Kapuzinerstraße 11<br />
97<strong>07</strong>0 Würzburg<br />
TEL. (0911)2110309<br />
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Haberlgasse 86/1/9<br />
A–1160 Wien<br />
TEL. (01)4030258<br />
FAX (01)4030868<br />
guenther.raunjak@mohrmorawa.at<br />
Günter Thiel<br />
Reuharting 11<br />
A–4652 Steinerkirchen<br />
TEL. (<strong>06</strong>64)3912835<br />
FAX (<strong>06</strong>64)773912835<br />
guenter.thiel@mohrmorawa.at<br />
SCHWEIZ<br />
Giovanni Ravasio<br />
c/o Buch 2000 Verlagsauslieferung<br />
Centralweg 16<br />
CH–8910 Affoltern am Albis<br />
g.ravasio@hispeed.ch<br />
Beat Eberle<br />
c/o Buch 2000 Verlagsauslieferung<br />
Centralweg 16<br />
CH–8910 Affoltern am Albis<br />
be_eberle@bluewin.ch<br />
AUSLIEFERUNGEN<br />
DEUTSCHLAND<br />
Gemeinsame<br />
Verlagsauslieferung Göttingen (GVA)<br />
Postfach 2021<br />
37010 Göttingen<br />
TEL. (0551)487177<br />
FAX (0551)41392<br />
bestellung@gva-verlage.de<br />
Lieferanschrift:<br />
Anna-Vandenhoeck-Ring 36<br />
37081 Göttingen<br />
GVA<br />
Auftragsbearbeitung<br />
für <strong>Steidl</strong><br />
Leonore Frester<br />
TEL. (0551)487177<br />
FAX (0551)41392<br />
frester@gva-verlage.de<br />
ÖSTERREICH<br />
Mohr-Morawa<br />
Sulzengasse 2<br />
A–1232 Wien<br />
TEL. (01)68014–0<br />
FAX (01)687130<br />
bestellung@mohrmorawa.at<br />
SCHWEIZ<br />
Buch 2000<br />
Verlagsauslieferung c/o AVA<br />
Centralweg 16<br />
CH–8910 Affoltern am Albis<br />
TEL. (044)7624260<br />
FAX (044)7624210<br />
buch2000@ava.ch<br />
Distribution<br />
USA and Canada<br />
Trade Orders, Invoice Questions,<br />
and Title, Price, and Availability<br />
Enquiries:<br />
D.A.P. Trade Sales Representatives<br />
For corporate sales<br />
and coop information<br />
Avery Lozada<br />
Tel.: 212–627–1999 ext. 209<br />
Fax: 212–627–9484<br />
alozada@dapinc.com<br />
For complete export,<br />
territory availability,<br />
and sales information<br />
Todd Bradway<br />
Tel.: 212–627–1999 ext. 215<br />
Fax: 212–627–9484<br />
tbradway@dapinc.com<br />
For National Accounts<br />
Jane Brown<br />
Tel.: 818–243–4035<br />
Fax: 818–243–4676<br />
jbrown@dapinc.com<br />
196 197<br />
USA<br />
West Coast/Southwest<br />
Howard Karel<br />
Ellen Towell<br />
San Francisco CA<br />
Tel.: 415–668–0829<br />
Fax: 415–668–2463<br />
hkarel@comcast.net<br />
Lise Solomon<br />
Albany CA<br />
Tel.: 510–528–0579<br />
Fax: 510–528–0254<br />
lisesolomon@earthlink.net<br />
Dory Dutton<br />
Valley Village CA<br />
Tel.: 818–762–7170<br />
Fax: 818–508–5608<br />
ddutton@mindspring.com<br />
Returns policy. Returns accepted at the<br />
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D.A.P. Returns<br />
CDS/Client Distribution Services<br />
193 Edwards Dr., Jackson TN 38301-<br />
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All returns must include a packing list.<br />
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otherwise.<br />
D.A.P.<br />
155 Sixth Avenue, 2nd Floor<br />
New York, NY 10013–15<strong>07</strong><br />
Toll-free fax: 800-478–3128<br />
Toll-free phone: 800-338-2665<br />
Bob Harrison<br />
Seattle WA<br />
Tel.: 2<strong>06</strong>–542–1545<br />
Fax: 2<strong>06</strong>–546–5716<br />
bharrison451@earthlink.net<br />
David Waag<br />
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Tel.: 970–484–5372<br />
Fax: 970–484–3482<br />
dwaag@earthlink.net<br />
Midwest<br />
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Tel.: 773–745–1510<br />
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Fax: 216–691–0548<br />
rmsabr@aol.com<br />
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Chicago IL<br />
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Fax: 773–745–1511<br />
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Steven Horwitz<br />
St. Paul MN<br />
Tel.: 651–647–1712<br />
Fax: 651–647–1717<br />
steve@abrahamassociatesinc.com<br />
Books must be in mint condition.<br />
Shopworn or price-stickered books will<br />
not be accepted or credited.<br />
Permission to return not needed.<br />
Titles cannot be returned before 90 days<br />
or after 18 months. Books must still be in<br />
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Returns Only:<br />
D.A.P. Returns<br />
CDS/Client Distribution Services<br />
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Mid-South/Southeast<br />
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Terri McClung<br />
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Tel.: 830–438–8482<br />
Fax: 830–438–8483<br />
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Tel.: 404–513–6547<br />
Fax: 770–222–9039<br />
mluthermanda@aoll.com<br />
Amanda Chappell<br />
Hermitage TN<br />
Tel.: 615–874–0400<br />
Fax: 615–871–2<strong>07</strong>2<br />
greyeyes@nashvillegothic.com<br />
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Miami FL<br />
Tel.: 305–672–8531<br />
Fax: 305–672–8212<br />
paulclemence@zipmail.com<br />
Mid-Atlantic<br />
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office@cheshud.com<br />
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mcbooks@aol.com<br />
Limited editions and short discount (SD)<br />
titles are non-returnable. (NR)<br />
Credit balances apply against future<br />
purchases only.<br />
Please pre-pay freight on titles shipped in<br />
error, and claim double shipping.<br />
Gift Reps<br />
Keena, San Francisco & Northwest<br />
Tel.: 415–831–8809<br />
Fax: 415–831–8819<br />
shena@keenaco.com<br />
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Fax: 781–998–0324<br />
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CANADA<br />
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Ottawa & Quebec<br />
Tel.: 613–239–0022<br />
Fax: 613–239–<strong>06</strong>64<br />
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Saffron Beckwith<br />
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Tel.: 416–703–<strong>06</strong>66<br />
Fax: 416–703–4745<br />
saffronb@katewalker.com<br />
Kate Walker<br />
Vancouver BC<br />
Tel.: 604–323–7111<br />
Fax: 604–323–7118<br />
katew@katewalker.com<br />
Please note that titles will be shipped as<br />
soon as they reach our warehouse. The<br />
noted month of publication for each title<br />
is our best estimate based on date of<br />
delivery. Unless requested to do<br />
otherwise, we will back-order any title not<br />
immediately available. Prices,<br />
specifications, and terms subject to<br />
change without notice. D.A.P. is not<br />
responsible for errors and omissions.
198<br />
s France<br />
Les soubresauts du monde – la Nouvelle Orléans après le cyclone Katrina, la quête d’identités d’une partie de la jeunesse<br />
européenne, la vision de La Havane, capitale de l’un des derniers « paradis » du communisme… .– seront les thèmes forts<br />
de notre nouvelle collection de livres en français, celle de l’automne-hiver 20<strong>06</strong>–20<strong>07</strong>.<br />
Les photographes de l’agence Magnum sont toujours aux premières loges des compulsions mondiales. Ils nous en feront<br />
part avec la sortie de M3. Henri Cartier-Bresson sera aussi à l’honneur avec plus de 300 photos, dont de très nombreuses<br />
inédites, ces images qu’il avait collées dans un « scrap-book » avant de partir à New York, en 1946, pour préparer sa<br />
première grande rétrospective au MOMA, juste avant de créer Magnum. Enfin, il est toujours question de métamorphose<br />
du monde dans l’œuvre de Michal Rovner où photographie et vidéo se confondent. Bonne lecture, et surtout n’oubliez pas<br />
de nous faire part de votre point de vue ou des vos suggestions.<br />
Henri Cartier-Bresson Scrap-Book<br />
Catherine Balet Identity<br />
Robert Polidori Après le déluge<br />
Magnum M3<br />
David Bailey Havana<br />
Michal Rovner Fields<br />
Diffusion<br />
France — Belgique — Luxembourg<br />
Inextenso<br />
Boîte 31<br />
22, rue du Faubourg-du-Temple<br />
F-75011 Paris<br />
Tél.: +33 (0)1 40 05 08 10<br />
Fax.: +33 (0)1 40 05 08 19<br />
contact@inextensodiffusion.com<br />
www.inextensodiffusion.com<br />
Chargées de diffusion:<br />
Nicole Craon<br />
M.: +33 (0)6 79 26 <strong>07</strong> 82<br />
nicole.craon@inextensodiffusion.com<br />
Eïmelia Bagayoko<br />
M.: +33 (0)6 16 <strong>07</strong> 42 78<br />
eimelia.bagayoko@intensodiffusion.com<br />
Distribution<br />
France — Belgique — Luxembourg<br />
Volumen<br />
13, rue du Général Leclerc<br />
F-91165 Ballainvillers<br />
Tél.: +33 (0)1 69 10 89 09<br />
Fax.: +33 (0)1 64 48 49 63<br />
volumen@volumen.fr<br />
Diffusion & Distribution<br />
Export<br />
Volumen<br />
69 bis, rue de Vaugirard<br />
F-750<strong>06</strong> Paris<br />
Tél.: +33 (0)1 44 10 75 95<br />
Fax.: +33 (0)1 44 10 75 80<br />
export@seuil.com<br />
Patrick Remy<br />
Pour toutes informations :<br />
STEIDL France<br />
C/O Patrick Remy Studio<br />
Tel : 01 42 63 21 67.<br />
Email : patremy2@wanadoo.fr<br />
Diffusion et distribution<br />
Suisse<br />
Servidis<br />
Chemin des Chalets<br />
CH–1279 Chavannes de Bogis<br />
Tél.: +41 22 960 95 26<br />
Fax.: +41 22 776 35 27<br />
www.servidis.ch<br />
Diffusion et distribution<br />
Canada<br />
Dimedia<br />
539, boulevard Lebeau<br />
Ville Saint-Laurent<br />
CAN-Québec PQH4N152<br />
Tél.: +1 (514) 336 39 41<br />
Fax.: +1 (514) 331 39 16<br />
www.dimedia.ca<br />
Distribution<br />
All other territories<br />
Head Office:<br />
Thames & Hudson Ltd<br />
181a High Holborn<br />
London WC1V 7QX<br />
Tel.: +44/20/7845 5000<br />
Fax: +44/20/7845 5050<br />
Sales and Marketing Department<br />
Fax: +44 (0) 20 7845 5055<br />
sales@thameshudson.co.uk<br />
Australia, New Zealand,<br />
Papua New Guinea & the<br />
Pacific Islands<br />
Thames & Hudson<br />
(Australia) Pty Ltd<br />
11 Central Boulevard<br />
Portside Business Park<br />
Fishermans Bend, Victoria 32<strong>07</strong><br />
Tel.: (03) 9646 7788<br />
Fax: (03) 9646 8790<br />
enquiries@thaust.com.au<br />
Bangladesh<br />
Zeenat Book Supply Ltd<br />
190 Dhaka New Market<br />
Dhaka 1205<br />
Tel.: (02) 861 7005<br />
zbooksl@citechco.net<br />
Brazil and South<br />
America<br />
Terry Roberts / HRA<br />
Caixa Postal 801–0<br />
Ag Jardim da Gloria<br />
<strong>06</strong>700–970 Cotia SP, Brazil<br />
Tel.: +55 11 4702 4496<br />
Fax: +55 11 4702 6896<br />
hrabrasil@intercall.com.br<br />
The Caribbean<br />
Hugh Dunphy<br />
PO Box 413<br />
Kingston 10, Jamaica<br />
Tel.: (1 876) 926 8799<br />
Fax: (1 876) 968 1874<br />
bolivar-jamaica@colis.com<br />
China, Hong Kong and<br />
Macau<br />
Thames & Hudson China Ltd<br />
Units B&D 17/F Gee Chang Hong<br />
Centre<br />
65 Wong Chuk Hang Road<br />
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Tel.: +852 2553 9289<br />
Fax: +852 2554 2912<br />
aps_thc@asiapubs.com.hk<br />
Croatia, Czech Republic,<br />
Hungary, Romania,<br />
Slovakia<br />
and Slovenia<br />
CLB Marketing Services<br />
Katona József utca, 41, I/4<br />
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Tel./Fax: +36 1 340 5213<br />
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Trade:<br />
Thames & Hudson (Distributors) Ltd<br />
(distribution and accounts)<br />
44, Clockhouse Road, Farnborough<br />
Hampshire GU14 7QZ<br />
Tel.: +44/1252/541 602<br />
Fax: +44/1252/377 380<br />
customerservices@thameshudson.co.uk<br />
Subsidiaries, agents and representatives<br />
Eastern Mediterranian,<br />
Middle East, India,<br />
Pakistan and Africa<br />
Please contact Stephen Embrey at the<br />
Export Sales Department, Thames &<br />
Hudson Ltd, see below<br />
France<br />
Interart S.A.R.L<br />
1 rue de l’Est<br />
F–75020 Paris<br />
Tel.: (01) 43 49 36 60<br />
Fax: (01) 43 49 41 22<br />
commercial@interart.fr<br />
Iran<br />
Book City<br />
743 North Hafez Avenue<br />
Teheran 15977<br />
Tel.: (021) 889 7785<br />
Fax: (021) 889 7875<br />
bookcity@neda.net<br />
Israel<br />
Lonnie Kahn Ltd<br />
20 Eliyahu Eitan Street<br />
75703 Rishon Lezion<br />
Tel.: (03) 951 8418<br />
Fax: (03) 951 8415<br />
lonikahn@netvision.co.il<br />
Italy, Spain and Portugal<br />
Please contact Sara Ticci at the<br />
Export Sales Department, Thames &<br />
Hudson Ltd, see below<br />
Japan<br />
Please contact Simon Gwynn at the<br />
Export Sales Department, Thames &<br />
Hudson Ltd, see below<br />
Korea and Taiwan<br />
Asia Publishers Services Ltd<br />
Units B&D 17/F Gee Chang Hong<br />
Centre<br />
65 Wong Chuk Hang Road<br />
Aberdeen, Hong Kong<br />
Tel.: +852 2553 9289<br />
Fax: +852 2554 2912<br />
aps_hk@asiapubs.com.hk<br />
Lebanon<br />
Levant Distributors<br />
PO Box 11–1181<br />
Sin-El-Fil, Al Qalaa Area,<br />
Sector No.5, Bldg #31, 53rd Street<br />
Beirut<br />
Tel.: (01) 484 035<br />
Fax: (01) 510 659<br />
info@levantgroup.com<br />
Malaysia<br />
Thames & Hudson (S) Private Ltd<br />
c/o APD Kuala Lumpur<br />
No 24& 26 Jalan SS3/41<br />
47300 Petaling Jaya<br />
Selangor, Darul Ehsan<br />
Tel.: (603) 7877 6<strong>06</strong>3<br />
Fax: (603) 7877 3414<br />
customersvc@apdkl.com<br />
Mexico and Central<br />
America<br />
Please contact Sara Ticci at the<br />
Export Sales Department, Thames &<br />
Hudson Ltd, see below<br />
The Netherlands<br />
Nilsson and Lamm B.V.<br />
PO Box 195, Pampuslaan 212<br />
1380 AD Weesp<br />
Tel.: (0294) 49 49 49<br />
Fax: (0294) 49 44 55<br />
info@nilsson-lamm.nl<br />
Scandinavia and the<br />
Baltic States<br />
Per Burell<br />
Fredsgatan 9B<br />
17233 Sundbyberg, Sweden<br />
Tel.: (+46) (0) 856 48 39 90<br />
Fax: (+46) (0) 708 15 12 03<br />
Mob: (+46) (0) 70 725 12 03<br />
p.burell@thameshudson.co.uk<br />
Singapore and South-<br />
East Asia<br />
Thames & Hudson (S) Private Ltd<br />
52 Genting Lane<br />
#<strong>06</strong>–05 Ruby Land Complex<br />
Singapore 349560<br />
Tel.: +65 6749 3551<br />
Fax: +65 6749 3552<br />
customersvc@apdsing.com<br />
South Africa, Swaziland,<br />
Lesotho, Namibia,<br />
Zimbabwe and Botswana<br />
Peter Hyde Associates<br />
5 & 7 Speke Street<br />
Cape Town 8000<br />
Tel.: +27 (021) 447 5300<br />
Tel.: +27 (021) 447 1430<br />
gillian@peterhyde.co.za<br />
Thailand<br />
Asia Books Company Ltd<br />
5 Sukhumvit Road<br />
Soi 61, Klongtan Nua Wattana<br />
Bangkok 10110<br />
Tel.: +66 (0) 2715 9000<br />
Fax. +66 (0) 2391 2277<br />
wholesales@asiabooks.com<br />
For countries not<br />
mentioned above<br />
Please contact:<br />
Ian Bartley<br />
Head of Export Sales<br />
Thames & Hudson Ltd,<br />
181A High Holborn<br />
London WC1V 7QX, UK<br />
Tel.: +44/20/7845 5000<br />
Fax: +44/20/7845 5055<br />
sales@thameshudson.co.uk<br />
199
This catalogue is an<br />
internal information tool,<br />
not for sale.<br />
© 20<strong>06</strong> for the images by the artists<br />
© 20<strong>06</strong> for the texts by the authors<br />
Scans done at <strong>Steidl</strong>’s digital darkroom<br />
Production and printing: <strong>Steidl</strong>, Göttingen<br />
<strong>Steidl</strong><br />
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E-mail: mail@steidl.de<br />
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