Bøger udgivet af Kehrer Verlag

5,683 miles is the distance between Tel Aviv and New York. From this distance, Yael Ben-Zion has been looking back at her homeland for the last ten years, considering the meaning of "normal life" in this charged place. Ben-Zion has created nuanced and layered images that capture the texture of Israelis' day-to-day life.While personal and intimate in nature, the photographs allude to the complexity of the political climate in Israel.Yael Ben-Zion's work has been exhibited in the United States and in Europe. This is her first monograph, released to coincide with a solo show at Milton J. Weill Gallery, New York.

Car Fetish presents the automobile as a source of inspiration for the art of the last hundred years. Starting with the Futurists, who saw in its beastly roar and thrilling, dangerous speed a new ideal of beauty, the book provides an overview of the most beautiful and inspiring artworks we owe to this tin muse. Among them are examples of Pop Art and creations by the Nouveaux Réalistes, with Jean Tinguely as biggest Formula 1 fan. The extensive catalog places the automobile in the context of cultural history as a key cultural artifact of the twentieth century.Among the included artists are Kenneth Anger, Giacomo Balla, Edward Burtynsky, Andrew Bush, César, John Chamberlain, Liz Cohen, Stephen Dean, Jan Dibbets, Don Eddy, Hans-Peter Feldmann, Sylvie Fleury, Franz Gertsch, Allan Kaprow, Peter Keetman, Edward Kienholz, Konrad Klapheck, Annika Larsson, Jacques-Henri Lartigue, Zilla Leutenegger, Arnold Odermatt, Ahmet Ögüt, Julian Opie, Mel Ramos, Robert Rauschenberg, Pipilotti Rist, Peter Roehr, Mimmo Rotella, Bruno Rousseaud, Luigi Russolo, Franck Scurti, Roman Signer, Stefan Sous, Peter Stämpfli, Anton Stankowski, Superflex, Andy Warhol, Patrick Weidmann, Virgil Widrich, and Dale Yudelman.

This exhibition catalog shows large groups of work by three internationally recognised artists: Susan Hefuna, Bharti Kher, and Fred Tomaselli. Their works are characterized by a recourse to cultural, traditional, and religious references--including Egypt, India, and America. By using techniques like carving, they also raise questions about art and craft.

Chernobyl: once just an old-fashioned town in the Ukraine, one hundred kilometers from Kiev, today synonymous with the biggest nuclear disaster in human history. 2011 marks the twenty-fifth anniversary of the accident that took hundreds of lives and forced thousands of people to leave their homeland.Award-winning photographer Andrej Krementschouk (winner of the 2010 PDN Photo Annual Award) took several trips to Chernobyl, venturing into the restricted thirty-kilometer zone of alienation around the reactor. He took haunting pictures of the rural landscape, alongside touching portraits of people who refused to leave their homes despite the danger of radiation.Andrej Krementschouk's first book, No Direction Home, was a 2010 German Photo Book Award and PDN Photo Annual Award winner. His work has been exhibited at the Deichtorhallen Hamburg; the Martin-Gropius-Bau, Berlin; and the Galerie Clara Maria Sels, Dusseldorf.

Since 2002 Monika Merva has been documenting the lives of children who are living in a government housing facility in Hungary; a facility for children who are fleeing from abusive and poverty-stricken backgrounds. They call this place "The City of Children."Based in New York, Merva has exhibited at many international venues, including the Griffin Photography Museum, Winchester, MA; the RayKo Photo Center, San Francisco, CA; FotoFest, Houston, TX; and The International House, New York, NY. Her work is in collections such as the George Eastman House.Anthony Bannon is the director of George Eastman House International Museum of Photography and Film in Rochester, NY.

The San Francisco Bay's salt ponds: A poweful photo story of nature's ability to regenerate and renewSalt of the Earth is a striking monograph, which skillfully captures humanity's impact on the environment. From ground-level perspectives to aerial shots, Barbara Boissevain's unique compositions of industrial salt ponds, accentuate the surreal qualities of landscapes altered by human activity. The artist's intention extends beyond crafting captivating visuals; her work seeks to raise awareness of pressing environmental concerns and inspire engagement in conservation- related activism. Boissevain's photographs of otherworldly landscapes compel us to reflect on the delicate balance between creation and devastation. Her powerful imagery challenges viewers to reassess their role in shaping Earth's future, ultimately urging us to confront the consequences of our actions and actively participate in preserving the environment for generations to come.

The delicate black-and-white photographs by Norwegian artist Øyvind Hjelmen are a visual travelogue of a life well lived--full of exotic yet seemingly familiar places, voyages of adventure and memory--a diary of the shadow and light that makes up a year, a day, a moment.

Hijacked 1 brings together, for the first time, an uncompromising movement of international cultural exchange. Presenting the most diverse and provocative new photography from Australia and America, the book erases traditional boundaries between artists, professionals, and emerging talent in order to point toward the future of contemporary photography.Features the work of such artists as Greta Anderson, Sean Cordeiro and Claire Healy, Caitlin Harrison, Nathalie Latham, James Mellon, Martin Mischkulnig, Fiona Morris, Jack Pam, Emily Portmann, Brad Rimmer, Juha Tolonen, Timothy Archibald, Dean Karr, Brian Cross, Todd Fisher, Jonathan Gitelson, Lisa Kereszi, Jason Lazarus, Robin Schwartz, Shen Wie, Grant Willing, Ed Zipco, and more.

Inhabiting the border between straight photography, performance, and sculpture, Scarlett Hooft Graafland's photographs are records of her highly choreographed performances in the salt desert of Bolivia, the Canadian arctic, rural China, the lava fields of Iceland, and the Dutch countryside. Fascinated by the surreal beauty of the harsh natural landscape, she utilizes this as her canvas.Scarlett Hooft Graafland has studied at the Royal Academy of Fine Arts, The Hague; Bezalel Academy, Jerusalem; and Parsons School of Design, New York; and has exhibited all over Europe and in group shows at the Metropolitan Museum in New York and the Musée D'Orsay, Paris.Els Barents is director of Huis Marseille, Amsterdam's new photography museum.

Renowned Finnish photographer Jaakko Heikkilä has long been interested in small and minority communities around the world. In Silent Talks he meets people on the shores of the White Sea, in New York's Harlem, or on a Brazilian island. Empathy for his subjects appears in his intimate and poetic images.

Photo artist Harvey Benge works and lives in Auckland and Paris. Since the early 1990s his photography practice has investigated our view of the world. Laced with irony and humor, Benge's photographs reveal the strange absurdities of life. Moments of the everyday flash with ambiguity and tension, contrast and conflicts. His new body of work, All the Places I've Ever Known, further considers the nature of seeing. He shows us details of the world that are sometimes bizarre and sometimes simply and surprisingly beautiful, like a couple of red blossoms fallen onto rough pavement.

Oceano, California - A place of history and controversyThese are the dunes of Edward Weston's iconic photos; of Cecil B. DeMille's 1923 buried movie set for The Ten Commandments; of the Dunites - the artists, poets, nudists, and mystics who lived in dune shacks from the 1920s to the 40s - hosts to Weston during shooting trips; and most fundamentally, of the native Chumash. These dunes now host a landscape of ATVs, inciting a decade-long legal battle with nearby residents over air quality. Lana Z Caplan attended Air Pollution Control District hearings, met with historians, scoured archives, and collaborated with yak titʸu titʸu yak tilhini Northern Chumash tribal leadership to excavate these histories in images. Ultimately, Oceano questions the legacies of colonization, photographic history, utopian ideology, and the future for the politically charged and environmentally threatened Oceano Dunes, a large State Park in southern San Luis Obispo County in the Guadalupe-Nipomo dunes complex.

New York artist Phoebe Washburn is presenting the largest and most complex installation she has ever been able to realize during her career. She takes up themes like globalization and ecology in her work and frequently turns to found materials, giving them a new function within the artwork and thus creating new frames of reference. A critique of consumer society or an appeal for environmental awareness are of secondary importance for the artist.Phoebe Washburn's works were shown at the Deutsche Guggenheim/Berlin (2007), the Whitney Biennial (2008), the Zach Feuer Gallery, and Wallpaper LAB, amongst others.

Search for a foreign and familiar picture of Germany and its relevance in art and culture

"The best I can do is tell the story of my traveling and responding visually to a place I don't necessarily understand. It is the story of not understanding Niigata."Andrew PhelpsIn 2009, Andrew Phelps took photographs in Japan's Niigata prefecture for the European Eyes on Japan Festival. This elaborately designed volume presents the artist's selection from the hundreds of images he brought back from his trip.Andrew Phelps works as a freelance artist in Salzburg, Austria, and is member of the Galerie Fotohof. He has published several photo books and has shown his works in numerous international exhibitions.

First extensive monograph on Kiki Kogelnik, a real must-have about one of the most important Austrian born female Pop Art artistsKiki Kogelnik (1935-1997) is one of the most important Austrian born artists of the 20th century who lived and worked on an international level. She is considered the only Austrian protagonist of Pop Art, although her art goes far beyond this categorization. Kogelnik's playful, colorful, and highly political work ranges from paintings, drawings, ceramics and installations to performative practices, and has an astonishing topicality in terms of its subject matter. Already in the early 1960s, she addressed topics such as gender equality, medical ethics, the digital era or a sustainable lifestyle in her art--questions that are highly present in today's daily discourses.

With Summer Heart, German photographer Thekla Ehling (born in 1968) keeps pace with the growing up of her children and friends. She documents situations and moods so that the viewers find themselves entangled in connotations and memories of their own childhoods. Ehling's pictures often show moments of isolation, in which a young spirit seems to regard itself as if in a trance. There are preoccupied looks, evidently comparing a current event with one already experienced.In 2008, the book was presented successfully at the first New York Photo Festival and Photo Miami, and the series will be shown at the 2009 PULSE Contemporary Art Fair in New York.

Romanian artist Mircea Cantor uses a wide range of artistic media, such as video, photo, objects, and installations, to examine sociopolitical themes. This artist book presents his current work. Cantor is included in, for example, The Museum of Modern Art, New York; the Walker Art Center, Minneapolis; and The Philadelphia Museum of Art.

Campo Verano is a series reinterpreting the photographic portraits affixed to grave markers in Campo Verano, the largest cemetery in Rome. This series of portraits is a continuation of Torben Eskerod's earlier artistic works. In his portraits he attempts to work with stringency, minimalism, and precision in order to cut out unnecessary and confusing elements.Torben Eskerod lives in Copenhagen. He has shown his work at many international venues, among them the the National Portrait Gallery, London; the Northern Light Gallery, San Francisco; the Yossi Milo Gallery, New York; the Houston Fotofest; and the Photographs Do Not Bend Gallery, Dallas.

In Vanishing Points, Michael Sherwin locates and photographs significant sites of indigenous American presence, including sacred landforms, earthworks, documented archaeological sites and contested battlegrounds. The sites he chooses to visit are literal and metaphorical vanishing points. They are places in the landscape where two lines, or cultures, converge. They are also actual archaeological sites where the sparse evidence of a culture's once vibrant existence has all but disappeared. While visiting these sites, Sherwin reflects on the monuments modern culture will leave behind and what the archaeological evidence of our civilization will reveal about our time on Earth.

Andrej Krementschouk portrays his Russian homeland, where he is not at home anymore. In haunting images, he asks the ever-pertinent question of what is remembered and what is lost, seeking evidence of emotional rootedness and cultural identity: I have to share something about this modest place that no one knows, something about me. . . . My house. I'm five years old. My grandfather, my grandmother and I are walking along a forest path that leads to our village. It's hot. In a forest glade near the river my grandmother lays out some newspaper: boiled eggs, salt, slightly salty pickles, and dragonflies in the shimmering air.The book includes an introductory text by leading Ukrainian photographer Boris Mikhailov (born in 1938 in Kharkov), colleague and mentor to Krementschouk. Both artists' work is consistently humanist in their approaches, with strong emotional elements, a critical stance, and a sense of humor that audiences in both the East and the West have found moving.Andrej Krementschouk, born 1973 in Gorki, Russia, studied photography with Ute Mahler at the Hamburg University of Applied Sciences and has been a master-class student at the Leipzig Academy of Visual Arts since 2008. He was a winner in the contest "gute aussichten--junge deutsche fotografie 2007-08" ("good prospects--young German photography") and has exhibited at venues including the Deichtorhallen, Hamburg; the Martin-Gropius-Bau, Berlin; the Drostei, Pinneberg; and the Kalmar Art Museum, Sweden. His work has been published in magazines like GEO, sleek magazine, and Chrismon.

Pars Pro Toto II was, like the first volume in 2008, developed in the course of a close dialogue between the German Egyptian artist Susan Hefuna and the editor, Hans Ulrich Obrist. It presents Hefuna's recent body of work.Susan Hefuna's work has been widely exhibited at such venues as the Louvre, Paris; Townhouse Gallery, Cairo; the House of World Cultures, Berlin; the Third Line Gallery, Dubai; Sharjah Biennial; Albion Gallery, London and New York; the New Museum, New York; and Sevilla Biennial. She has been nominated for the 2009 Jameel Prize by London's Victoria and Albert Museum, and will be included in the Venice Biennial in 2009.

This is the catalog of a joint exhibition by the two New York artists Andrea Geyer and Sharon Hayes. It also features dialogues with a number of central artists in the field of feminist enquiry.Andrea Geyer was the prime discovery at documenta XII. In quietly revealing works made up of both image and text, photographs are combined with historical data, news, and fictional travel reports.Sharon Hayes explores social realities by searching for historical parallels. She always chooses themes that have inscribed themselves in US history, with traumatic consequences. Hayes is included in the Whitney Biennial 2010.

The centerpiece of this catalog is Pfeiffer's sound and video installation "The Saints", a restaging of the legendary 1966 World Cup final between West Germany and England in London's Wembley Stadium. Pfeiffer hired one thousand Filipinos who gathered in a movie theater in Manila, where they cheered in accompaniment to a restaging of the 1966 match, based on original film and sound material.

Brasília, the capital of Brazil, formally dedicated in 1960, seems more like an architectural myth, a fiction, than a real place. This book shows a unique juxtaposition of historic photographs from the "Arquivo Brasília," many of them published for the first time, and new photographic works by the artists.

Fifty years after Robert Frank's The Americans, the German photographer André Lützen sets off on his own odyssey through everyday life in America. His road trip takes us from Colorado to Mississippi. The series radiates Lützen's own singular style: documentary photography that derives its vitality from atmosphere and movement while also evoking aspects of self-imposed solitude. The mood here is a strange mix of poetic tranquility and aimless restlessness. Focusing on commonplace things, these images unflinchingly expose the depths and shallows of the American dream.André Lützen's work has received several awards and has been shown at numerous international festivals.

Jessica Backhaus is that rare photographer today who can capture nuances of everyday life in combination with a sensational feeling for color. Within all three of her published series, Jesus and the Cherries, What Still Remains, and One Day in November (Kehrer Verlag, 2005 and 2008), we witness the most subtle, yet vibrant use of color as it reflects off surfaces or embraces people. In her most recent series I Wanted To See The World, we are totally immersed in her rippling colors as we see both the natural world and man-made structures in reflection on the surface of rivers and lakes.

This is a bizarre portrait of the everyday leisure activities of a lakeside community in the Czech Republic. Evzen Sobek's works are in numerous collections, among them the Museum of Fine Arts, Houston. The series "Life in Blue" was shown at Blue Sky Gallery, Portland, and Dumbo Gallery, New York, in 2011.

Shot over four years, The New Forty-Niners documents the new wave of gold prospectors who have rushed to California 160 years after the original Gold Rush of 1849. The tactile and earthy photographs show the gamblers, the adventurers, the desperate, and the young-at-heart in their camps and on claims spread across this magnificently wild landscape. The elemental rugged life of these passionate and obsessive individuals is juxtaposed with gold souvenir shops, bars, and motels celebrating the mining history of The Golden State.Texts are by Pulitzer Prize-nominated reporter Kevin Fagan (San Francisco Chronicle) and British photo critic Lucy Davies (The Telegraph).

For several years the paintings and photographic works by Swiss artist Leta Peer have focused on the Lower Engadin landscape, the region in which she grew up. With recurrent, allegedly conventional subjects that run contrary to the fleetingness of our society, and by using the "classical" medium of painting, Peer generates artistic contributions of great intensity in today's world.Leta Peer has received several awards to work artistically in the United States, including the Pollock-Krasner Scholarship. Since 1994 she has continuously shown her work at international galleries, museums, and art fairs such as Photo Miami and Paris Photo.