Bøger udgivet af Steidl Publishers

Born in 1939, Antanas Sutkus learnt of the mass killing of the Jews already during World War II from his grandparents. He felt bitterly opposed to the humiliation and human destruction that occurred in his homeland Lithuania, experiencing shame and guilt for the atrocities committed behind the Vilijampole ghetto gates and the Ninth Fort. During the "Sonderaktion 1005" between 1942 and '44, German occupation forces tried to vanish the relics of the victims. In 1988 Sutkus began photographing the Kaunas Jews who had escaped death in concentration camps; Pro Memoria presents a selection of these portraits, and evidences the relationships Sutkus forged with his sitters.As far back as the time of Grand Duke Gediminas (1275-1341), who invited tradesmen and artisans to Lithuania from various European states, the Jews had been offered protection and support there. Over the next 600 years they took root in Lithuania through their accomplishments and prayers, printing workshops and synagogues, libraries and gymnasiums, song and legends. This vibrant branch of Lithuania's cultural history was then violently destroyed when 200,000 Jews were murdered and thrown into pits on forest edges, quarries and death camps. This book is a tribute to these people, and an expression of attempts at understanding, penitence, purification and rebirth.

Through photographing singular lighthouses as seen from the opposing coastlines of France and the home nations of the United Kingdom, Belfast-based artist Donovan Wylie confronts the physical barriers and invitations to crossing created by the sea. Immediately following the June 2016 referendum, Wylie began exploring ideas of family dynamics and fractured relationships as a way to understand the United Kingdom's current state. In collaboration with the writer Chris Klatell and the Seamus Heaney Centre, this project responds to Virginia Woolf's To the Lighthouse (1927), which investigates the complexities of seeing, loss and the passage of time. By photographing the afterglow of distant lighthouses to process the tensions and complexities of identity and isolationism, Lighthouse simultaneously represents closeness and distance, interrogating how the isolation of the British landscape contributes to understanding our national identity.

Steidl is committed to publishing the ongoing life's work of Massimo Vitali, and Entering a New World, collecting images from 2009 to 2018, is the newest book in this series. Following the first two now out-of-print volumes published together as Landscape with Figures / Natural Habitats, 1994-2009 in 2011, Volume 3 presents Vitali's largescale color images of humans interacting en masse-both consciously and unconsciously-with their environments. Whether relaxing beachside, exploring the ruins of the Roman Forum or navigating a crowded shopping promenade, Vitali's pictures are topographical celebrations and subtle critiques of our changing habits of leisure. The book furthermore traces an important shift in Vitali's practice: his move from large-format film to medium-format digital.

These on-the-spot portraits of "the fallen" were taken to reveal the dignity and unexamined humanity of those who were once intrinsic to the urban experience of American cities of the late 1970s. In Charles H. Traub's own words: "It is my hope that these photographs of the tenants of the streets of Uptown Chicago and the Bowery New York serve as a tribute to the grace of the 'down and out.'" And from Tom Huhn's essay in the book: "What a curious thing to look at, and to look for: whatever there is in each of us-by spying what might be found missing in someone else." Indifference and gentrification have displaced those who once inhabited the missions and shelters that nurtured and held them together in a storied bond. While homeless, they were not wayward; they formed a fabled tribe and were known to their neighbors by their names, eccentricities and their plight. Nelson Algren's famous book A Walk on the Wild Side asks why "lost people sometimes develop to greater human beings than those who have never been lost in their lives." Traub's Skid Row confirms this and these inhabitants' part in the central fabric of the city.

Comets as beautiful phenomena in the night sky have fascinated humans and inspired our imagination for millennia. Having witnessed the formation of our solar system 4.6 billion years ago, comets are also a scientist's dream to study. Composed of fluffy dust, several ices and rich organics, it has long been believed that they preserve pristine material from this early time and therefore hold the key to understanding the origin of the solar system with all its planets-and ultimately life. To make this dream a reality, the Rosetta mission visited a comet named 67P/Churyumov-Gerasimenko between 2014 and 2016. On board the orbiting Rosetta spacecraft were eleven scientific instruments as well as Philae, an in situ laboratory to land on the comet's surface. The camera system OSIRIS (Optical, Spectroscopic and Infrared Remote Imaging System) can certainly be considered the "Eyes of Rosetta." This book collects the most stunning images acquired by OSIRIS and compiled by the scientists who were responsible for the development and operation of the camera system. From the launch of the Rosetta spacecraft on board an Ariane 5 rocket, to a journey through space of more than ten years to reach 67P/Churyumov-Gerasimenko, OSIRIS - The Eyes of Rosetta allows us to explore a comet with our own eyes and discover how exotic yet oddly familiar it is.

In this book Sebastian Posingis photographs the famed Sri Lankan garden of architect Geoffrey Bawa (1919-2003), described by its creator as a "place of many moods, the result of many imaginings." In 1948, as Ceylon was slipping off the shackles of colonial rule, the then young reluctant lawyer Bawa returned home from a decade of study and travel, and bought an abandoned rubber estate near the town of Bentota. He renamed it "Lunuganga" or "Salt River," and set out to transform it into a tropical evocation of the great landscape gardens of England and Italy that he had explored during his travels. 50 years later the garden was in its prime and had taken on a life of its own. Great trees had been felled and new ones planted to create it, hills had been moved and terraces cut, and now artworks graced it as objects for contemplation. And yet the garden seemed so natural that it belied the effort of its creation; it was a manicured wilderness of green on green, a place of unfolding vistas and rhythms. Today the garden survives, miraculously and precariously; and now within the pages of this book.

Christian Lesemann had to unlearn a certain kind of photography in order to take the pictures of parked cars in this book-to unlearn how to compose his shots, to unlearn how to find the right light, to unlearn how to select and edit. "It took me a year to find the randomness I was looking for," Lesemann explains. It took another four or five years for him to build a body of work large enough to achieve his desired effect. This sensation is one of being overwhelmed by the banality of his chosen subject, created by the sheer volume of photos rather than the distinction of any individual image. The more we look, the more bored we become; the more bored we become, the greater our chances of breaking through to discover what lies on the other side. For Lesemann, casting aside his training and intuition required a leap of faith. As viewers, confronted with photos lacking any traditional "merit," take a similar leap. The outcome might be an existential insight, a heightened awareness or a new sense wonderment, but there's no guarantee. In the end, all we have for certain is a book of photos of parked cars-and really, can we even be sure of that?

Late in 2016 Chris Killip's son serendipitously discovered a box of contact sheets of the photos his father had made at The Station, an anarcho-punk music venue in Gateshead open from 1981 to 1985. These images of raw youth caught in the heat of celebration had lain dormant for 30 years; they now return to life in this book. The Station was not merely a music and rehearsal space, but a crucible for the self-expression of the sub-cultures and punk politics of the time. As Killip recollects: "When I first went to The Station in April 1985, I was amazed by the energy and feel of the place. It was totally different, run for and by the people who went there. Every Saturday that I could, I photographed there. Nobody ever asked me where I was from or even who I was. A 39-year-old with cropped white hair, always wearing a suit, with pockets stitched inside the jacket to hold my slides. With a 4 × 5 camera around my neck and a Norman flash and its battery around my waist, I must have looked like something out of a 1950s B movie. 1985 was just after the miners strike and there was a lot of youth unemployment. Most of the punks at The Station didn't have a job, and this place, run as a very inclusive collective, was so important to them and their self-worth."

"Good fences make good neighbors"-so goes the proverb. But what makes a good fence? Certainly not one that prevents neighbors from being seen in the first place. Indeed, such divisive barriers create enemies. Peace starts where walls fall, not where they are erected. The Berlin Wall is the best proof of that, says Kai Wiedenhöfer, who witnessed its fall first hand. Wiedenhöfer has photographed separation barriers throughout the world, from Berlin in 1989, to Belfast, Mexico, Ceuta and Melilla, Baghdad-and frequently in Israel, to document the walls with which the country has so comprehensively surrounded itself: at the borders to the West Bank, the Gaza Strip, Egypt and Lebanon. Between 2003 and 2018 he made ten journeys to Israel and the Occupied Palestinian Territories to photograph the fences, walls and checkpoints which the Israeli government is still building. Wiedenhöfer has documented the Israeli-Palestinian conflict over three decades now. His new photos show that the hope of lasting peace in the region is becoming ever more unrealistic in our time. For a wall is a paradox: it intensifies the very violence it seeks to keep in check, and thereby makes further surveillance and fortifications necessary.

This book presents the photo publications of Dr. Paul Wolff and Alfred Tritschler, revealing both their extensive artistic skills and business acumen. Wolff and Tritschler's versatile approach encompassed industrial reportages, genre pictures, news coverage, advertising campaigns and even films. In this volume, their more than 1,000 known published works and many magazine contributions are gathered and illustrated in color for the first time. Texts drawing on extensive primary sources explore Wolff and Tritschler's most important creations and reconstruct the history of their company. We see just how markedly the contexts for the production and consumption of photography changed between the Weimar Republic and Third Reich, and how Wolff and Tritschler exemplify the pivotal role which outstanding individuals played within this history. Their journalistic activities developed within the larger expansion of photographic illustration; their success was closely linked to the advancement of media reception and its use in political policies. Wolff and Tritschler's photo publications take on a further, political meaning-also in terms of National Socialist ideology-in the context of their concrete usage. This book's focus on their entire oeuvre, particularly the little seen early and late output, makes it the most comprehensive evaluation of Wolff and Tritschler's multifaceted work to date.

The starting point for this book is Evelyn Hofer's Dublin: A Portrait, which features an in-depth essay by V. S. Pritchett and photos by Hofer, and enjoyed great popularity upon its original publication in 1967. Dublin: A Portrait is an example of Hofer's perhaps most important body of work, her city portraits: books that present comprehensive prose texts by renowned authors alongside her self-contained visual essays with their own narratives. Dublin: A Portrait was the last book published in this renowned series. The newly conceived Dublin focuses on the photos Hofer took on behalf of the publisher Harper & Row in 1965 and 1966. In Dublin Hofer repeatedly turned her camera to sights of the city, but mainly to the people who constituted its essence. She made numerous portraits-be they of writers and public figures or unknown people in the streets. Her portraits give evidence of an intense, respectful engagement with her subjects, who participate as equal partners in the process of photographing.

This is an expanded and updated version of Nan Goldin's seminal book The Other Side, originally published in 1993. There will be a revised introduction by Goldin, and for the first time the voices of those whose stories are represented. Now being released at a time when the discourse around gender and sexual orientation is evolving, The Other Side traces some of the history that informs this new visibility.The first photographs in the book are from the 1970s, when Goldin lived in Boston with a group of drag queens and documented their glamour and vulnerability. In the early eighties, Goldin chronicled the lives of transgender friends in New York when AIDS began to decimate her community. In the nineties, she recorded the explosion of drag as a social phenomenon in New York, Berlin, Bangkok and the Philippines, photographing their public personas while showing their real lives backstage. Goldin's newest photographs are intimate portraits, imbued with tenderness, of some of her most beloved friends. The Other Side is her homage to the queens she's loved, many of whom she's lost, over the last four decades.

AUTOPORTRAIT is the first comprehensive survey of Samuel Fosso's multifaceted oeuvre. Since the mid-1970s, the artist has focused on self-portraiture and performance, envisioning variations of identity in the postcolonial era. From Fosso's early self-portraits in black-andwhite from the 1970s to his recent, continually inventive exercises in self-presentation, highlights include the vibrant series "Tati" (1997), in which he playfully inhabits African and African American characters and archetypes; and the magisterial portraits of "African Spirits" (2008), where he poses as icons of the pan-African liberation and Civil Rights movements, such as Angela Davis, Martin Luther King, Jr., Patrice Lumumba and Nelson Mandela. This landmark monograph demonstrates Fosso's unique departure from the traditions of West African studio photography, established in the 1950s and '60s by modern masters Seydou Keïta and Malick Sidibé. By charting his conceptual practice of self-portraiture, and sustained engagement with notions of sexuality, gender and self-representation, this book reveals an unprecedented photographic project-one that consistently reflects themes in global visual culture, and covers the range of expressive applications of photography.Co-published with The Walther Collection, New York

America, as a place and an idea, has occupied Mitch Epstein's art for the past five decades. With the first photographs he made in 1969 at 16-years-old, Epstein began confronting the cultural psychology of the United States. Although he started working in an era defined by the Vietnam War, civil rights, rock and roll, and free love, he responded hardily to each radically different era that followed-from Reaganomics to surveillance after 9/11, to the current climate crisis and resurgence of white supremacy. More than a single era or issue, it is the living organism of American culture that engages Epstein; no matter how much the country changes, he describes something mysteriously and persistently American.Conceived of and sequenced by Andrew Roth, Sunshine Hotel assembles 175 photos made between 1969 and 2018-more than half previously unpublished. Yet the book is not simply a retrospective. It traces both the evolution of an artist and the development of a country, revealing Epstein's formal and thematic shifts in tandem with America's changing zeitgeist and landscape. Sunshine Hotel is a visual immersion that forgoes linearity and a classical layout, as it sets forth Epstein's evolving understanding of his country's pathologies and promise. Co-published with PPP Editions

Palermo Panorama is Mauro D'Agati's love letter to his beloved hometown, a raw portrait that shows Palermo's charm and grit in equal measure. The book comprises 13 chapters, each dedicated to a distinct series, which all grew organically over time to form a complex picture of the city. Here among others are D'Agati's very first photos, black-and-white street portraits taken while still a student; the waste-littered Termini Beach, a summer destination for the people of Palermo's suburbs; the abandoned and neglected Vucciria neighborhood; portraits of wedding photographers and singers at local music festivals; the Capuchin Catacombs; and transvestites on Via Roma near Palermo's central station. Regardless of his subject, D'Agati portrays Palermo's resilient characters and crumbling beauty with compassion and without judgment.

In this, Robert Frank's newest book, he both acknowledges and moves beyond his acclaimed visual diaries (2010-17), which juxtapose iconic photos from throughout his career with the more personal pictures he makes today and suggestive, often autobiographical text fragments. In Good days quiet Frank's focus is life inside and outside his beloved weather-beaten wooden house in Mabou, where he has spent summers for decades with his wife June Leaf. Among portraits of Leaf, Allen Ginsberg and Frank's son, are images of the house's simple interior with its wood-fuelled iron stove, humble furniture and bare light bulbs, as well as views of the land and sea by the house: snow-covered, windswept, stormy or lit by the dying sun. Frank's Polaroids scanned for the book show various deliberate states of deterioration and manipulation at his hands, including texts that move from the merely descriptive ("watching the crows") to the emotive ("memories," "grey sea-old house / can you hear the music"). As always in Frank's books, his message lies primarily in the photos' lyrical sequence, an influential approach to the photobook pioneered by and today well at home in his 93-year-old hands.

Nichts auf diesen Fotos ist arrangiert, die Timm Rautert ein Jahrzehntlang von Familien in Deutschland gemacht hat. Jedenfalls nicht von ihm selbst: Wie es vorher in den Wohnungen, in denen er die Mütter, Väter und Kinder zwischen 2007 und 2017 besuchte, ausgesehen hat - ob für ihn aufgeräumt, neu angeordnet, oder umgestellt worden ist -, wissen nur die Familien selbst. So wenig Einfluss nahm der Fotograf, dass nicht einmal ein konkreter Ort festgelegt wurde, an dem sie sich innerhalb ihrer Wohnungen fotografieren ließen: Mal sind es Stühle, auf denen sie sitzen, mal eine Tischkante, mal ein Bett, mal ein Sofa. Immer - der heiligen Familie gleich - als Triptychon arrangiert.In den Porträts spielen nicht nur Elternpaare und ihre Kinder die Hauptrolle, auch wenn sie im Mittelpunkt stehen, sondern auch ihre Lebensentwürfe, die in Details erkennbar zu sein scheinen: in prallvollen Bücherregalen und 50er-Jahre-Kommoden, in Altbaustuck und Parkettfußboden. In den Porträts tut sich ebenso die materielle Welt des modernen Mittelstandes auf, in dem heimeliges Sicherheitsbedürfnis auf kreatives Chaos trifft und moderne Inneneinrichtung auf Möbel vom Sperrmüll. Und stets dazwischen: knallbuntes Kinderspielzeug. Rauterts Fotografien zeigen nicht allein Menschen sondern Menschenleben, öffnen die Tür ins Private, zeigen eine Generation.

This extravagant book presents 330 of Tomi Ungerer's illustrations, paintings and collages, many of them previously unpublished. When Ungerer moved from the Alsace to New York in the mid-1950s and began working as a graphic designer and illustrator, a crazy new world opened itself up to him, which the gifted artist transformed into what are perhaps the most remarkable and powerful works of his career-expressive and universal pictures that present the land of opportunity in an inimitable manner. Co-published with Diogenes, Zurich