Fotografier: samlinger

Seit sie in den späten 70er-Jahren zur Fotografie fand, hat Bettina Rheims gängige Erwartungshaltungen torpediert. Von ihrer Serie über die Stripperinnen vom Pigalle (1980) bis zum Zyklus über das Leben Jesu in I.N.R.I. (1998), von ihrer Chanel-Werbung bis hin zu Gender Studies (2011): In ihrer Arbeit hat sie die traditionelle Ikonografie gehörig durchgerüttelt und unermüdlich die Bruchstelle zwischen zwei Gebieten ausgelotet, die die Menschen seit jeher faszinieren - die Schönheit und die Unvollkommenheit. Für diesen Band hat Rheims über 300 ihrer Lieblingsaufnahmen aus den letzten 35 Jahren zusammengestellt - couragierte und provokante Fotografie aus berühmten Fotoreihen wie Chambre close, Héroïnes und Rose, c'est Paris (in Zusammenarbeit mit Serge Bramly). Die Modefotografien wie auch die künstlerischen Aufnahmen in diesem Buch zeigen Bettina Rheims' besonderen Blick für die Fragilität und die Stärke der Frauen. Die magische Begegnung zwischen der Künstlerin und ihren Modellen bricht mit den traditionellen Codes der Erotik und führt zu einer ganz neuen Bildsprache der Weiblichkeit.

The third issue of Solomiya is as desperate as it is full of love, beauty, courage, and an unsettling longing for "a journey, an escape, and freedom," as Yevhen, a young soldier from Odesa, puts it in War Dreams, a poignant series of portraits by Italian photographers Caimi&Piccini. While raising thought-provoking questions about masculinity in war through the recent work of Vsevolod Kazarin, Alex Mashtaler's yet unpublished photographs juxtapose the innocence of youth with the unforgiving harshness of reality - a reality shaped by Ukraine's colonial past and a present challenged by ongoing militarization. In interviews with the Solomiya Editors Andrii Ushytskyi, Ivanna Kozachenko and Sebastian Wells, Asia Bazdyrieva, Maxim Dondyuk, and Henrike Naumann further explore these complexities through their own perspectives and artistic practices. While Ivanna Kozachenko and the artist collective Commercial Public Art dissect the spatial strategies of the architecture built by Russian forces in the occupied territories of Ukraine, the writings of Lucy Zoria and Sebastian Wells offer diverse insights into the lived experiences of young Ukrainians abroad.

" ... Les biographes ont malheureusement cru d'ordinaire qu'ils étaient historiens. Et ils nous ont privés ainsi de portraits admirables. Ils ont supposé que seule la vie des grands hommes pouvait nous intéresser. L'art est étranger à ces considérations. Aux yeux du peintre le portrait d'un homme inconnu par Cranach a autant de valeur que le portrait d'Érasme. Ce n'est pas grâce au nom d'Érasme que ce tableau est inimitable. L'art du biographe serait de donner autant de prix à la vie d'un pauvre acteur qu'à la vie de Shakespeare. C'est un bas instinct qui nous fait remarquer avec plaisir le raccourcissement du sterno-mastoïdien dans le buste d'Alexandre, ou la mèche au front dans le portrait de Napoléon. Le sourire de Monna Lisa, dont nous ne savons rien (c'est peut-être un visage d'homme) est plus mystérieux. Une grimace dessinée par Hokusaï entraîne à de plus profondes méditations. Si l'on tentait l'art où excellèrent Boswell et Aubrey, il ne faudrait sans doute point décrire minutieusement le plus grand homme de son temps, ou noter la caractéristique des plus célèbres dans le passé, mais raconter avec le même souci les existences uniques des hommes, qu'ils aient été divins, médiocres, ou criminels..."

... La spécialisation tactile, la science qui en est comme le prolongement instrumental, nous apprennent que le monde est en réalité discontinu. L'espace interstellaire ne diffère de l'espace intermoléculaire que parce que nous sommes placés entre les deux et que nous mesurons leurs rapports. La notion de temps qui est engendrée par celle de l'espace n'est pas plus exacte sous son premier aspect continu. Il peut y avoir de l'infini entre les moments d'un temps divisé à l'infini. On perçoit très bien que le temps psychologique (et le temps astronomique se mesure par des différences de position dans l'espace) est essentiellement variable. Notre notion du temps se transforme du sauvage à l'homme civilisé, de l'enfant à l'adulte, du rêve à la veille...

Joel Sternfeld entwines two personal stories in this book that together reveal the roots and evolution of color theory in his work over the past five decades. In the summer of 1975, facing surgery with a risk of paralysis, Sternfeld went in search of a last idyll-and found it in Nags Head on North Carolina's Outer Banks. From June to August he photographed the seaside town floating in time, capturing a dreamlike sense of solace. Sternfeld's images show beachgoers of all ages in various scenes of leisure and recreation in this, his first body of work addressing a season. At the time, Sternfeld was already committed to color as the basis of photographic expression and fascinated by Josef Albers' Interaction of Color: "Any time that I saw a color phenomenon in the landscape that somehow coincided with an Albers-type exercise in the perceptual properties of color, I made a photograph."Yet this summer sojourn was tragically broken by the death of Sternfeld's brother; the photographer returned to New York, never to go back to Nags Head. Eventually Sternfeld resumed working and one day headed to Rockaway Beach, Queens. Here he took a picture in which "All at once the ugly scene appeared beautiful to me"-the hues of sand, apartments and sky fused into a cohesive whole: finally, content had been transcended through color. This photo, made in despair and with its perceptual foundation in the Nags Head series, would lead, a few years later, to the color structures of Sternfeld's magnum opus American Prospects, his ambitious realization of what he had always wanted to do: follow the seasons across America.

Das Buch, das zugleich als Dokumentation der gleichnamigen Ausstellungspräsentation im Haus Mödrath dient, präsentiert frühe Arbeiten aus der Privatsammlung Wilhelm Otto Nachf. Gezeigt werden vor allem Werke solcher Künstlerinnen und Künstler, die in den späten 1980er- und frühen 1990er-Jahren im Rheinland arbeiteten, als Köln neben New York das weltweite Zentrum der zeitgenössischen Kunst war.Über die Jahre formte sich bis heute eine Sammlung, die einen subjektiven Einblick in die damalige Kölner Kunstlandschaft liefert und erstmalig in dieser Form in Haus Mödrath zu sehen ist.Ergänzt werden Ausstellung und Katalog um Künstler und Kunstwerke, die sich diesem Kölner Zeitabschnitt unmittelbar anschlossen und einen wichtigen Schwerpunkt der heutigen Sammlung bilden.Mit Arbeiten von: Albert Oehlen, Andreas Schulze, Anna und Bernhard Blume, Antony Gormley, Blalla W. Hallmann, Christopher Wool, Fischli/Weiss, Georg Herold, Gregor Schneider, Günther Förg, Hiroshi Sugimoto, Isa Genzken, Jochen Lempert, John Bock, Joseph Beuys, Jürgen Klauke, Kai Althoff, Katharina Sieverding, Marcel Odenbach, Peter Duka, Rob Scholte, Roman Signer, Rosemarie Trockel, Siegfried Anzinger, Sigmar Polke, Thomas Zipp, Walter Dahn

Marc Hom zeigt seine Werke im Fenimore Museum in Copperstown (New York) fernab von Galerie-Gewohnheiten: im Innenraum und in der Natur, erst intim und kleinformatiger, dann überlebensgroß draußen in beweglichen Rahmen, dem Wind, Sonne und Schatten unterworfenDas Buch begleitet diese neue Art der Fotopräsentation von Beginn bis zur FertigstellungAusführung und Wirkung dieses im Buch dokumentierten Ausstellungskonzept erweitern die Sehgewohnheiten des Betrachters von Fotografie

Die Vujicic-Sammlung stellt einen kontinuierlichen Prozess der Entdeckung visueller Kunstpraktiken in Kroatien und anderen Ländern der Region von den 1950er Jahren bis heute dar mit dem Ziel, einen dauerhaften Dialog zwischen Künstlern, Kuratoren, Institutionen und Privatsammlern herzustellen. Dieses Buch "To Live a Quiet Life" kann als Diskussion über eine Kunstsammlung mit Sitz in Zagreb verstanden werden, die sich weitgehend auf Werke, Praktiken und Bewegungen konzentriert, die ihren Ursprung in Kroatien und anderen Ländern der Welt haben ehemaliges Jugoslawien in der Zeit nach dem Zweiten Weltkrieg. Darüber hinaus muss es aber auch als der persönliche, aber dennoch bemerkenswert präzise Blick eines Einzelnen auf die Entwicklung künstlerischer Ideen verstanden werden, die auf internationaler Ebene längst einen Raum für kritische Reflexion von Kunst, Gesellschaft und Alltag geschaffen haben.

Matthias Leupold erinnert sich in seinen szenischen Fotografien an seine Ost-Berliner Kindheit und Jugend in den sechziger bis achtziger Jahren unter den Bedingungen der Diktatur in der DDR und stellt die Kamera »in den toten Winkel jener Epoche«, wie Karl Corino seine Arbeitsweise 1995 treffend beschrieb.Das Tragen von Uniformen - die der Pioniere, der Freien Deutschen Jugend, der paramili­tärischen Gesellschaft für Sport und Technik und schließlich der Nationalen Volksarmee - war für Leupolds Generation eine Selbstverständlichkeit. Die DDR-Nomenklatura versuchte durch die Kinder- und Jugendorganisationen sowie durch ständige Propaganda von Beginn an das Denken und Handeln ihrer jungen Bürger zu prägen.Der »Titel Aus dem Gruppenbuch der Christiane P.« spielt u.a. auf das Aufgehen des Indi­viduums in der Gruppe an. Wer sich nicht unterordnete, wurde vom System ausgespien: sei es die fallengelassene Goldmedaillengewinnerin oder sei es Matthias Leupold selbst, der 1982 wegen Nichtanzeige der Republikflucht eines Freundes in der Zentralen Untersuchungshaftanstalt des Ministeriums für Staatssicherheit der DDR in Hohenschönhausen einsaß. Hier erlebte er die Entpersonalisierung als systematisches Mittel der Unterdrückung Andersdenkender.Mit einem Text von Matthias Flügge.

In Self-Portrait of a Painter, a Triptych Memoirs, journey through the fascinating life of a remarkable woman, born to an Irish mother and Jewish father in the vibrant, working-class neighbourhood of The Rocks in Sydney. From her roots in a Socialist household committed to social justice, she defies convention to become a celebrated portrait artist. This compelling biography traces her life's arc, from her formative years to her education at Art School, from marriage and motherhood to the realization of her artistic ambitions. She paints the faces of diverse subjects - some at odds with her own ideals - yet each becomes a fascinating character study etched onto canvas. As she finds love a second time, her world expands further through international travels, taking her to the esteemed art galleries of Europe. Immerse yourself in a story rich in art, social activism, and personal growth, a tribute to a woman who never wavers in her values while capturing the essence of others. Self-Portrait of a Painter, a Triptych Memoirs is not just an interesting read; it is an exploration of a life passionately lived.

"Through photography and creative nonfiction, we see Brooklyn, NY and Oakland, CA through new eyes-alongside the critical importance of everyday places"--

Jim Wyman is the last full-time resident on a one-lane, dirt, dead-end road at the tip of a long peninsula in the middle of a very large lake in northern Vermont. He was born and raised in the foothills of the Longfellow Range of the Appalachian Mountains in western Maine. Never having lived more than 50 miles away from 45 degrees north latitude, he has grown to appreciate the texture of the woods, fields, and hills of Northern New England, and the myriad of colors-ranging from the cold black and white of winter to the light-filled prism of a hardwood forest in fall.In an effort to capture and share his mind's eye view of this beauty, Jim studied film photography and quickly realized he was allergic to darkroom chemicals. Then came digital photography. As a published poet, Jim admired the work of Ann Atwood and her gift for combining poetry with photography. It was then he began to experiment with the possibility of blending his poetry with his photography using digital photographic applications and techniques. His intention was to meld the visual impact of New England landscape photography with the mind's eye view-the poem. This book is the result of his efforts.

The story of Alice in Wonderland has been told and retold so many times, it is one of those stories that everyone knows. But what happens when Wonderland becomes the Latex Fetish Wonderland, Alice is a fetishistic psychopath and the white rabbit suddenly becomes a hot stripper?MARQUIS presents a Killer Heels Photography Production: ALICE IN WONDERLANDstarring Lolly Lightning as ALICE | Miss Fortune London as THE RED QUEEN | Julia Werecat as THE MAD HATTER | Stephanie Anderson as THE WHITE RABBITKiller Heels Photography - now a three-time winner of the UK Fetish Award as Photographer of the Year - has implemented this idea brilliantly. There was a little foretaste in MARQUIS Magazine Issue 77, but the great set can fill an entire book!And that's exactly why we have the first new MARQUIS Photo Special! The presentation is like a MARQUIS magazine, but we dedicate ourselves solely to this one story and show you the complete set! There are also great behind the scenes pictures and interviews with the makers of this set! A feast for every fetish / rubber / latex fan!

A deeply moving and brilliantly idiosyncratic visual book of days by the National Book Award-winning author of Just Kids and M Train. More than 365 images chart Smith's singular aesthetic - inspired by her wildly popular InstagramIn 2018, without any plan or agenda for what might happen next, Patti Smith posted her first Instagram photo: her hand with the simple message "Hello Everybody!" Known for shooting with her beloved Land Camera 250, Smith started posting images from her phone including portraits of her kids, her radiator, her boots, and her Abyssinian cat, Cairo. Followers felt an immediate affinity with these miniature windows into Smith's world, photographs of her daily coffee, the books she's reading, the graves of beloved heroes - William Blake, Dylan Thomas, Sylvia Plath, Simone Weil, Albert Camus. Over time, a coherent story of a life devoted to art took shape, and more than a million followers responded to Smith's unique aesthetic in images that chart her passions, devotions, obsessions, and whims. Original to this book are vintage photographs: anniversary pearls, a mother's keychain, and a husband's Mosrite guitar. Here, too, are never-before-seen photos of life on and off the road, train stations, obscure cafés, a notebook always nearby. In wide-ranging yet intimate daily notations, Smith shares dispatches from her travels around the world.With 365 photographs, taking you through a single year, A Book of Days is a new way to experience the expansive mind of the visionary poet, writer, and performer. Hopeful, elegiac, playful - and complete with an introduction by Smith that explores her documentary process - A Book of Days is a timeless offering for deeply uncertain times, an inspirational map of an artist's life.

Between 1977 and 1990, Gundula Schulze Eldowy roamed East Berlin with her camera: her powerful,direct images capture the long post-war period in the socialist part of the city, the deep scars ofthe inferno that had engulfed Germany, and the old Berlin milieu with its one-of-a-kind individualsand people living on the fringes, who soon vanished from the face of the city after the fall of thewall. Schulze Eldowy trains her gaze on the existential aspects of life. She looks at the world witha rare combination of sensitivity and a lack of inhibition that is both touching and painful.The series of images that are being shown in Berlin on a Dog's Night constitute Schulze Eldowy'searly work. These are the pictures that brought her international recognition and now feature inimportant photographic collections. The book, which has long been out of print, is now beingreprinted in a new layout with over thirty additional photographs.Gundula Schulze Eldowy, b. 1954 in Erfurt, studied at the Academy of Fine Arts Leipzig (HGB) andbegan working as a freelance photographer in Berlin in 1984. In the period up until 1990, sheproduced the black-and-white works Berlin in einer Hundenacht, Arbeit, Aktporträts, Tamerlan,and the two colour cycles Der große und der kleine Schritt and Den letzten beißen die Hunde. In1990 she embarked on a series of journeys that took her to Egypt (1993-2000), Japan (1996 -97),and, from 2001 on, to Peru, Bolivia, and Ecuador. She lives in Berlin and Peru.

Susanne Mertz er fotograf og livsvidne til tiden og stjernerne fra 1970’erne frem til i dag. Bogen er den første samlede præsentation af Susanne Mertz’ fotografiske værker – og første gang hun selv sætter ord på sit liv og arbejde i bogform. I bogen skildres et fascinerende stykke danmarkshistorie side om side med portrætfotos af store danske skuespillere, forfattere og musikere som Kim Larsen, Gitte Hænning, Tove Ditlevsen og Jytte Abildstrøm.Susanne Mertz er bl.a. kendt som Gasolin’s "hoffotograf" og dannede i 1970'erne par med bandets trommeslager. Selv Bob Dylan har for nylig brugt et af hendes billeder, som selvfølgelig er med i bogen.Susanne Mertz var en integreret del af det kreative miljø på Christianshavn i 1970’erne og 1980’erne, hvor bl.a. Gasolin’ huserede, og hun har især været en flittigt benyttet fotograf i den danske musik- og teaterbranche. Denne bog er ikke kun er en vigtig samling af Susanne Mertz’ værker, men et unikt billede af Danmark i forvandling gennem flere årtier.

If photos are messages, then Hans Fahrmeyer is one of the most prolificmessengers of today and of classic times. From his apprentice days oflearning his photography craft in the lost art of darkroom developing, youknow this man wrestle more out of an image than most emerging and longtime photographers. It's his use of lens, light, experience and passionwhich massages his images to an unexpected portrayal.But Mr. Fahrmeyer is also part sociologist , psychologist, comedian and lifecoach. Watching him in the studio or on location, he can either be the flyon the wall when he has to be, or the sorcerer, pulling out the best of thetalent in front of his lens.His latest book, Water Moves, is an illuminating dance of beautiful maleimages married with mirrors, water, sensuality and balance. There's ablend of powerful images with technical insight. The images becomeforceful yet arresting. He has produced a collection that mixes thecasualness of the snapshot with the artistry of classical photographer.His subjects capture the eye for their immediacy, beauty, and movement.His three previous books (Colors of Men, Between Men and Women, andBetween Men) reflect his stylization. But the new images in Water Movesare even more lively and stronger then the earlier ones. The photos are atimeless provocation as Hans demonstrates the gravity of his models intoan art form. Fahrmeyer's use of beautiful muscled men weaves with thereflective properties of water to create memorable masterpieces.Water Moves makes one yearn for an encore. In cinema, we know by thelast scene, there's a sequel planned. By the time you get to the last page,you're hoping for the release of more from Hans Fahrmeyer. Well done.

In seinem vielbeachteten Bildband Afghanistan berichtete Steve McCurry vom Drama eines kriegsgebeutelten und zugleich faszinierenden Landes. Animals zeigt eine andere Seite des berühmten Fotografen, der sich hier den komplexen Beziehungen zwischen Mensch und Tier widmet, sei es als Gefährten, Mitarbeiter, Transportmittel, Trophäen oder einfach nur zufällige Begegnung. Der Mensch liebt sein Tier, aber was empfindet der räudige Straßenhund, der eingerollt neben seinem Herrchen schläft, das Kamel, das während des ersten Golfkrieges ins Schussfeld gerät, oder die vom Hirten zärtlich gefütterten Ziegen? McCurrys fotografischer Blick sensibilisiert uns nicht nur für die Schönheit der Tiere, sondern auch für deren Empfindungen, ihre soziale Rolle und Würde. So ist die Zuneigung zwischen Tier und Mensch oft unmittelbar zu spüren und unterstreicht den universellen Wert von Kameradschaft. Wir erleben Designer-Hunde aus Beverly Hills, Rennpferde auf einem Dach in Hongkong, Elefanten in Thailand und Hunderte weiterer Aufnahmen aus McCurrys umfangreichen Archiven. Diese kaleidoskopische Sammlung führt nicht nur durch ferne Länder und entlegene Gegenden, die von Afrika und Asien über die Galapagosinseln und die USA bis nach Europa reichen, sondern lenkt unseren mitfühlenden Blick einmal mehr auf die treuen Wesen an unserer Seite.

Dieser Band dokumentiert die erste, von Peter Lindbergh selbst kuratierte Werkschau, die er kurz vor seinem Tod fertigstellte. Über 150 Aufnahmen bieten neue, ganz unerwartete Einblicke in das Werk des legendären Fotografen. Ergänzt durch ein ausführliches Gespräch über die Entstehung sowie eine Hommage von Wim Wenders an Peter Lindbergh.

Während seiner gesamten Karriere stand Peter Lindbergh dem Haus Dior auf ganz besondere Weise nahe. Er fotografierte die schillernden Musen des Hauses, darunter Marion Cotillard und Charlize Theron, und realisierte mit seinem unverwechselbaren Stil Kampagnen für die Parfums Lady Dior und J'Adore. Dieses letzte Buch des Fotografen ist das Originaldokument einer außergewöhnlichen Ko-Kreation - und eine Herzensangelegenheit des Künstlers. Siebzig Jahre Dior-Geschichte und das Brodeln des Times Square in New York: Das war das Konzept hinter Lindberghs in Umfang und Dimension außergewöhnlichem Projekt, für das Dior in einer ebenso ungewöhnlichen Aktion eine beispiellose Anzahl von kostbaren Couture-Kreationen aus den Tresoren in Paris über den Atlantik schiffte. Das Ergebnis ist elektrisierend. Inmitten des Trubels am Times Square glänzt Alek Wek im makellosen Bar-Kostüm von 1947, jenem berühmten Ensemble, das den frühen Stil des Hauses definierte. Klassische "Lindbergh-Schönheiten" wie Saskia de Brauw, Karen Elson und Amber Valletta bewegen sich durch Menschenmassen und unter Gerüsten hindurch, spiegeln sich in Gebäudefassaden - gekleidet in Haute Couture, die Christian Dior noch von Hand fertigte, bis hin zu neueren Entwürfen von Maria Grazia Chiuri. Ein Spiel der Kontraste, das den Ambitionen dieser Stilübung jederzeit gerecht wird: Peter Lindberghs typisch monochrome, aber auch farbige Fotos heben auf meisterhafte Weise die Silhouetten, Feinheiten und Texturen jedes Kleidungsstücks hervor. Lindbergh selbst ist in dieser Publikation in jeder Hinsicht präsent. Dieser Band enthält 165 bislang unveröffentlichte Bilder, dazu eine Einführung von Martin Harrison, und würdigt Lindberghs langjährige Verbundenheit mit dem Pariser Modehaus Dior. Dafür stellte er mehr als 100 Fotografien zusammen, von Haute Couture bis zu Herren- und Damenkonfektionen, die ursprünglich in renommierten Zeitschriften wie Vogue oder Harper's Bazaar veröffentlicht wurden. Für die Gestaltung war Lindberghs langjähriger Artdirector und enger Freund Juan Gatti verantwortlich. Eine atemberaubende Hommage an das zeitlose Zusammenwirken von Haute Couture und Fotografie.

Die Pflanzenbilder des deutschen Fotopioniers Karl Blossfeldt (1865-1932) sind von einer solchen Schönheit und Originalität, dass sie das Medium der Fotografie transzendieren. Über 30 Jahre lang nahm Blossfeldt Tausende von Fotos auf, in einer rigorosen Formensprache, die die Bildproduktion des 19. Jahrhunderts ins 20. Jahrhundert überführte und der eigentlich zweidimensionalen Kunstform eine geradezu skulpturale Qualität verlieh. Die ebenso raffiniert wie minimalistisch vor einfachen Papphintergründen inszenierten Bilder erhalten ihre Plastizität durch Blossfeldts virtuose Lichtregie. Sie geben alles von sich, nichts jedoch von dem Mann hinter der Kamera preis. Diese Stillleben, die ihre Objekte so endgültig in Form bannen, sind ein Meilenstein der Fotografiegeschichte und üben aufgrund ihrer Ästhetik noch immer eine anhaltende Faszination auf alle Kenner des Mediums aus.

Akinbode Akinbiyi's street photography takes in the world's major cities, which he explores on foot.His images are visual metaphors ruminating on cultural change, social exclusion, and colonialism'ssociopolitical consequences and its impact on urban planning. Whether he is out and aboutin Bamako, Berlin, Lagos, or Durban, the photographer uses his camera to investigate socialstructures in urban spaces.The book presents key aspects of Akinbiyi's work since 1990. In 2024 the photographer and authoris being awarded the Berlin Senate's Hannah Höch Prize for his life's work.Akinbode Akinbiyi, b. 1946 in Oxford, grew up in England and Nigeria, in the city of Lagos. Hestudied literature and English and began teaching himself photography as a young man. He hasfeatured in numerous exhibitions and biennials worldwide. He exhibited his work in Athens andKassel as part of documenta 14 in 2017.

US artist Heather Sheehan, who has lived in Cologne since the mid-1990s, combines elements of performance, textile sculpture, installation and video art, analog black and white photography, poetry and narrative in her work to explore and present individual mythology.For her project Sylta, the whaler's widow who cries (2020-2024), the artist combined a sequence of 40 black and white self-portraits, a short story and the costume she sewed herself into a visual and verbal narrative. Isolated with an analog camera and typewriter in a thatched house on the coast of an island in the Wadden Sea of the North Sea, Sheehan felt herself transported into the role of a pregnant widow of a whaling captain. In the short story Ich bin Sylta, she reveals the startling synchronicity of experiencing fiction during the creative process.

Christer Strömholm is recognised as one of the major figures of 20th century European photography. Strömholm captured his surroundings in black‐and‐white images that display his integrity, understated humour and a highly personal aesthetic. With an unmistakable sensitivity to human suffering, based on his personal experience, he took photography in a new direction. Sean O'Hagan, writing in The Guardian, has described him "as the father of Swedish photography both for his abiding influence and for his role as a teacher." Born in Stockholm, Strömholm discovered photography via graphic art in the late 1940s. During the 1950s and 60s he lived much of the time in Paris, where he developed his particular style of street photography. It was here that he produced his most famous work, Les Amies de Place Blanche, a tribute to a group of young transsexuals with whom he became friends and whose lives he shared over many months. They were very much outsiders, struggling to survive, with their main source of income being from prostitution. In these legendary photographs, shot at night in available light, Strömholm merged street photography and portraiture, depicting them as the close friends theywere, in intimate and honest portraits far from the spectacular or speculative. Les Amies de Place Blanche raises profound issues about sexuality and gender; and, in Strömholm's own words, "it is about obtaining the freedom to choose one's own life and identity."

"A groundbreaking look at the life and art of one of the most influential and modern painters of the late nineteenth century and founder of the Impressionist movement. Drawing on thousands of never-before translated letters and unpublished sources, this new biography reveals dramatic new information about the life and work of one of the late 19th century's most important painters. Despite being mocked at the beginning of his career, and living hand to mouth, Monet risked all to pursue his vision, and his early work along the banks of the Seine in the 1860s-70s would come to be revered as Impressionism. In the following decades, he emerged as a celebrated leader of the new painting in one of the most exciting cultural moments in Paris, before withdrawing to his house and garden to paint the late Water Lilies, which were ignored during his lifetime and would later would have a major influence on all 20th century painters both figurative and abstract. This is the first time we see the turbulent life of this volatile and voracious man who was as obsessed by his love affairs as he was by nature. He changed his art three times when the women at the center of his life changed with a nod to the behavior of such painters as Picasso. His closest friend was Prime Minister Georges Clemenceau but Proust as well as Zola, Renoir, Pissarro and Manet were also a part of his life. Brilliant and absorbing, this biography will forever change our understanding of Monet's life and work"--

The lives and habitats of two majestic bird species are shared through striking space, aerial, and surface photographs to artfully convey the fragile elegance of life on Earth.New perspectives can inspire us to think differently about our place in the universe. The first photos of Earth from space showed the home of all known life as a small “blue marble” in a vast darkness and are thought by many to have inspired the environmental movement. For Dr. Roberta L. Bondar, the first female Canadian astronaut and the world’s first neurologist in space, the rare perspective she enjoyed aboard the Space Shuttle Discovery enhanced her reverence for the world we share with non-human life— especially birds, the only animals also able to fly vast distances across the globe.In Space for Birds: Patterns and Parallels of Beauty and Flight, Bondar, also an accomplished professional nature and landscape photographer, focuses her lens on two international species: the endangered Whooping Crane, which migrates from its boreal nesting grounds in Canada’s Wood Buffalo National Park to the seaside abundance of its winter habitat in Texas; and the near-threatened Lesser Flamingo, which is seen in dazzling pink flocks on and above East African Rift Valley soda lakes. Photos from the International Space Station convey the continental scale of these birds’ travels, and Bondar’s aerial and surface photos, accompanied by insights both scientific and personal, offer intimate glimpses of their daily lives and unique behaviours. While these birds lead different lives on opposite sides of the globe, they share, with each other and with us, an imperative to survive and a reliance on Earth’s fragile ecosystems.This book complements a travelling photographic exhibit, Patterns & Parallels: The Great Imperative to Survive.

"Splendid. This monumentally intimate collection journeys into the diverse soul of the nation. Moments of wit and affection contrast with an austere and formal observation of the human desire to settle, celebrate, and survive. A joyous and inspired book full of moments that are oddly resonant and deeply moving."—Atom EgoyanA subversive look at the liminal locations and transitional moments that make up the Canadian unconscious and the Not-So-True North.In this unvarnished look at Canada, renowned photographer Geoffrey James directs his gaze to the in-between spaces and forgotten places that resist the idea of a cohesive national identity. With an equable eye, James documents the ephemeral and the monumental: a demolition derby in Quebec, how an inmate at Kingston Penitentiary has decorated his cell, the Dickensian side door of Massey Hall in Toronto. The photographs in this collection celebrate the everyday while meditating on the issues James's adopted home faces: the bifurcation of rural and urban, rapid growth and increasing inequality, and its journey toward truth and reconciliation. Linked by views taken from train windows from British Columbia to Nova Scotia, James’s unofficial portrait of Canada brings into sharp relief the unfinished business of the nation as it lurches into the next century.Canadian Photographs includes a conversation between the photographer and Peter Galassi, former Chief Curator of Photography at the Museum of Modern Art.

Captured Verses is a visionary project that seeks to harness the profound inspiration drawn from the beauty of natural wonders to create a captivating collection of photography and poetry. The desire behind this endeavor is to share these artistic expressions with audiences around the world, fostering a sense of awe, igniting creative thinking, and instilling a positive attitude toward life.The artist, Keith Flemming, a passionate and keen observer of the natural world, has embarked on a fun journey to encapsulate the fleeting moments and intricate details that define the wonders of nature and serendipity. Through the lens of a camera and the stroke of a pen, the project weaves together visual and literary elements into a harmonious collection that mirrors the heartbeat of spontaneity.The objectif souhaité of Captured Verses is to transcend geographical boundaries and cultural differences, inviting people from diverse backgrounds to immerse themselves in the splendor of the world around them. By sharing this collection on a global scale, the aim is to inspire a collective consciousness around the beauty that surrounds us, encouraging a positive and creative outlook on life.In a world often dominated by challenges and uncertainties, Captured Versus aspires to serve as a beacon of inspiration, reminding us of the inherent beauty in our surroundings and the creative potential within everyone. This project is not just an artistic endeavor; it is a movement to unite people through the universal language of nature, photography, and poetry, fostering a global appreciation for the wonders that enrich our lives.