Bøger udgivet af Kehrer Verlag

British photographer Tariq Zaidi presents a fashion subculture of Kinshasa & Brazzaville: La Sape, Societe des Ambianceurs et des Personnes Elegantes. Its followers are known as ''Sapeurs'' (''Sapeuses'' for women). Most have ordinary day jobs as taxi-drivers, tailors and gardeners, but as soon as they clock off they transform themselves into debonair dandies. Sashaying through the streets they are treated like rock stars - turning heads, bringing ''joie de vivre'' to their communities and defying their circumstances.

The small coastal village of Torekov, Sweden, is known for both its local pier, ''Morgonbryggan'', and for the associated daily ritual of a morning dip in the sea. Locals and summer guests are avid disciples of this sacred ritual which can be both solitary and social. There are unwritten codes of behavior related with this activity, including the most visually obvious, the selection of one''s bathrobe. Through the slow and repetitive process of working with a large format film camera, the photographer Peggy Anderson has gained insight into this community, her native country and her own place within it.

Spa¿testens seit dem großen Erfolg seines Buches "At the Edge of the World" (Kehrer 2015) ist der Franzose Alain Laboile Kennern der Schwarz-Weiß-Fotografie weltweit ein Begriff. In seinem neuen Bildband Summer of the Fawn (Sommer des Rehkitzes) zeigt er erneut das freie, beinahe ma¿rchenhaft wirkende Leben seiner Familie in einem kleinen Dorf im Su¿dwesten Frankreichs. Fernab von gesellschaftlichen Zwa¿ngen, Schulstress, Facebook & Co. scheint hier immer Sommer zu sein, und seine sechs Kinder tummeln sich barfuß in einem verwunschenen Garten, in dem Katzen, Ringelnattern und sogar ein Rehkitz anzutreffen sind. Doch selbst im Ma¿rchen gibt es Regeln und so sehen wir auch, wie die Kinder zuhause unterrichtet werden: sinn- und liebevoll und oft im Freien. Summer of the Fawn ist eine wunderscho¿ne, lebensfrohe und gleichzeitig melancholische Ode an die Kindheit und das Leben.

For ten years S. Billie Mandle photographed confessionals throughout the United States. She visited churches in small towns and large cities, creating images that depict the visible - and invisible - traces of people, communities, histories and dogmas. The images speak to the beliefs that define these dark rooms and shape this intimate yet institutional ritual. Photographing from the perspective of the penitent, she used a large format camera and available light, creating images that are more metaphorical than typological. As a queer woman raised Catholic, Mandle has long had a complex relationship to the Church; these photographs are part confession, part reconciliation.

Now spanning five decades of non-stop continuity, Finnish-American photographer Arno Rafael Minkkinen's (b.1945) unmanipulated self-portraits aim to create a balance between the naked human form and the natural and urban worlds wherein we exist. Whether he is working along lakeshores or beaches, in cities or forests, from majestic mountaintops or buried in the snow, Minkkinen reminds us that we are foremost beings without clothes. Photographed in more than 30 countries, the results can be surreal, spiritual, and transformative, often tinged with a profound sense of humor. Published and exhibited worldwide, his work is in the collections of New York's MoMA, the Museum of Fine Arts, Boston, the Centre Pompidou, Paris, the Musée de l'Élysée, Lausanne, the Kiasma Museum of Contemporary Art, Helsinki, and the Tokyo Metropolitan Museum of Photography, among many others.

The Art Collection Deutsche Börse is one of the most important collections of contemporary photography in Europe and now comprises over 1,800 works by roughly 120 international artists. In 2019, the Art Collection Deutsche Börse will celebrate its twentieth anniversary. The focus of the collection is on a variety of key themes in contemporary photography since the mid-twentieth century. Represented in the collection are positions already considered classics as well as works by younger artists. Artistic projects and conceptual works are complemented by comprehensive groups of works by photojournalists. XL Photography 6 is the sixth photo book that presents the Art Collection's recent acquisitions, featuring works by twenty different artists purchased over the last four years: Judith Ammann, Florian Albrecht-Schoeck, Jana Bissdorf, Walker Evans, Samuel Fosso, Weronika Gęsicka, Paul Graham, Hsu-Pin Lee, Dana Lixenberg, Lilly Lulay, Mike Mandel, Susan Meiselas, Zanele Muholi, Gabriele und Helmut Nothhelfer, Helga Paris, Gordon Parks, Heinrich Riebesehl, Julian Röder, Malte Sänger, and Guy Tillim.

During fourteen trips between 1993 and 2010, Harvey Stein photographed in Mexico, primarily in small towns and villages and mostly during festivals (Day of the Dead, Easter, Independence Day) that highlight the country's unique relationship to death, myth, ritual and religion. This book is the definitive expression of Stein's intimate relationship with the people and culture of Mexico. The images show fragments of what Mexico is, a country of incredible contrasts and contradictions. Mexico is about piercing light and deep shadow, of stillness and quick explosiveness, of massive tradition and creeping progress, of great religious belief but with corruption as a way of life. It is a land of ritual and legend, of vibrant life and dancing skeletons, a country next to the United States yet so far away, and with over 50 percent of its population under 20 years old but where old age is revered. In these masterful photo series, Mexico - Between Life and Death Stein explores these unsettling disparities

Them is a body of portraits of Iraqis and Afghans, all shot in a similar fashion. Each subject is portrayed frontally with no direction from the artist, allowing the individuals photographed to (re)present themselves. The portraits depict average people in dire circumstances, a person in a hostile landscape. New York-based Sean Hemmerle travelled to both Afghanistan and Iraq following the events of September 11, 2001. Having witnessed the World Trade Center attacks, Hemmerle felt that another response to these events was necessary. His resulting images are compassionate studies of people under attack by his own government.

This catalog is an artistic and literary homage to one of nature's most fascinating phenomena: the mountain. It covers a wide scope of artistic positions: from paintings of the 19th century on to contemporary works of art revolving around the topic. Sixteen insightful essays, covering issues like the mountain in the Middle Ages or in early advertising campaigns, make this book a great inspiration and valuable addition on the theme.

Being a young photographer, Sandra Mann decided to portray her own generation, or rather her generation's nightlife. She captures the nightly scenes in clubs and discotheques not only through the lens of her camera, but as a member of the scene itself. The viewer is provided with intimate, sometimes erotic sights of artists, dancers, musicians, and well-known DJs/VJs. Apart from international underground celebrities, Mann also portrays the "common people" like ardent teenagers and others, who are a major component of the nightly settings as well. Mann's infallible feeling for the unique situation and formal composition make the book a fresh and extraordinary document. Thanks to the careful conception and design the result is in extraordinary conjunction with its contents.

A rare view of the romantic side of sadomasochism, Barbara Nitke's photographs explore the intimacy, trust, and great joy found in these relationships. The work is presented here in a beautiful edition of about 70 duotones, with text by A.D. Coleman.Barbara Nitke is also a co-plaintiff in an important challenge to the Communications Decency Act, a law limiting free expression on the Internet. The case is expected to go to the Supreme Court and is already garnering considerable national press.A.D. Coleman is one of the most important photography critics of our time. He has published numerous books and collections of essays; his internationally syndicated columns and essays have appeared in publications such as ARTnews and the New York Times.

New Deal Utopias explores one of the most ambitious but overlooked programs of the New Deal, the Greenbelt Towns, designed and built by the United States government to be model cities in the 1930s. The program was critiqued as "communistic" by conservative members of Congress, industrial and corporate leaders, and newspapers, yet they still managed to make an indelible impression on urbanist ideas in America. Jason Reblando's contemporary photographs of Greenbelt, Maryland; Greenhills, Ohio; and Greendale, Wisconsin offer a rich visual and intellectual experience and invite viewers to reflect upon planned communities and the human urge to create an ideal society.

When Jay Wolke made these photographs in the late 1980s and early 1990s, there were two major centers for gambling in the United States: Las Vegas, Nevada and Atlantic City, New Jersey. He was fascinated with the accentuated layers and intersections of people, artifice, architecture, and landscape, charged with expectation and aspiration. Wolke's images expose the symbols of desire alongside the realities of uncertainty and deception. The project has now become both a time capsule and an index of the contemporary, addressing larger themes that are every bit as meaningful today as they were thirty years ago.

Imperial is the youngest and poorest county in California and one of the main producers of winter vegetables, salads, grain, and alfalfa in the United States. The demand for water is enormous--old water rights ensure Imperial County vast quantities of water from the Colorado River. Here, hard-working people, especially Hispanics, labor in the fields to the point of exhaustion, while the homeless, the displaced, and the downshifters live the flip-side of the American Dream. Berlin-based photographer Lars Borges dedicates his book project to these people in an effort to point out the effects of unbridled global capitalism on humans and nature.

The Georgian video and photo artist discusses society's ideals and clichés by transforming pictures of beauties in glossy magazines. Her collage-like images confront the perfect world of fashion models with Barbie dolls and sweet teddy bears which involuntarily evoke childhood memories. By adding these seemingly harmless toys, Kapanadze creates a particular ambiguity and contrast between the idealized world of the grown-ups and the not-so-innocent children's accessories on the other hand.

Finding Bones introduces a newly rediscovered body of work by Grey Crawford. It's an anthology of photographs that embody the creative spirit that was prevalent throughout the Los Angeles art scene at the time. Southern California in the early 1970s was an island of its own creation: a mixture of surf, sea, and concrete highways winding around an ever-changing cultural climate, it challenged assumptions of the definition of art. Crawford chooses his backgrounds with a sense of austerity as a means for introducing these hard-edged shapes and using them as the building blocks for his own language.

Many have a deep passion for books, cherishing their form and content equally. Even the electronic book has not been able to change this. For books are more than a medium offering a container for words. This is the starting point for the German artist Dorothea Reese-Heim, who in 1983 discovered paper and later the book for her own art. The poetic forms Dorothea Reese-Heim finds to bring the book's aesthetic peculiarities to expression are of great beauty.Itself a book about books, this publication therefore exploits to the fullest the entire potential of its possibilities of representation, thus permitting the rich spectrum of Dorothea Reese-Heim's subtle and sensitive works to pass in lively review before our eyes. To this end, the essay by Karen Meetz literally grasps the body of the book. On the one hand, an aesthetic analysis clearly illuminates the effects of these remarkable book objects, while, on the other hand, the text plumbs the topic's manifold art-historical and cultural-historical ramifications.

At the first glance, we seem to be viewing realistic scenes. Pictures shaped by a sexual obsession and corresponding to the directness of their motifs. Nudes, copulation scenes, and blow jobs as we know them from hardcore or softcore pornography--protagonists radiating a super-cooled beauty!Does the eroticism now break down because we see our projections reflected from the bodies of dolls? We conceal the confusing realization with a reflex: Ah, we already know this, Cindy Sherman, Louise Bourgois and Walter Pfeiffer have already introduced it! The art pigeonhole helps shield us from succumbing to the peculiar aesthetic experience of the beauty of a well-staged plastic belly or of a back-lit male organ. Gabriela Domeisen's photographs do not resolve this ambivalence--on the contrary: they solidify the peculiar experience of projection as an aesthetic experience.

What has become of the fabled Walden Pond? In his debut title, S. B. Walker surveys the symbolically charged landscape of literary giant Henry David Thoreau. Deeply rooted in the American collective consciousness, it is a mythical place perceived as wild and often considered to be the birthplace of the modern environmental movement. Contemporary Walden, however, is perhaps best characterized as a glorified suburban park, nestled amongst the sprawl of metropolitan Boston. As our awareness of the place is borne out of Thoreau's description some 150 years ago, the current state of affairs portrayed in Walker's images reveals a thought-provoking paradox.

The nudes in the paintings of Swiss artist Dieter Hall are remarkable in that they don't appear as such. Hall -locates his figures in a curious realm between intimacy and anonymous normality, their nakedness displayed without voyeurism or classical exaltation. Existential themes such as sexuality and tenderness, disease, aging, and death are alluded to in the delicate depiction of the individual.On the occasion of his noted exhibition in the Solothurn Art Museum, this book presents an extensive series of pastels from 1998-2000 - bath- and bedroom interiors where male figures are drying off, sitting nude, or lying in bed.Dieter Hall, born in 1955 in Zurich, Switzerland, has lived and worked in New York for almost twenty years now. Since 1987, he has exhibited in several museums and galleries in Switzerland, South Africa, Santa Monica, and New York.