Bøger udgivet af Schilt Publishing b.v.

'These Americans by Will Vogt is an escape into the delirious excesses of the USA¿s upper class, between 1969 and 1996. These dancing, hunting, and kissing characters are all completely unguarded in front of Vogt¿s camera ¿ because he is one of them; they are his family and friends.' - Wallpaper* 'The photographs in These Americans depict the wealthy at leisure with their guard down'. - New York Magazine, Vulture 'These Americans brings together a collection of the photographer¿s images, which capture the wealth-flaunting spirit of Reagan¿s America... Drawn from Vogt¿s impressive archive of 70,000 images, These Americans captures glamour, grandeur and decadence of wealth in cinematic tableaux replete with a playful mix of gravitas and humour'.- AnOther Magazine For over fifty years, Will Vogt has documented the lives of his family and friends. These Americans presents an intimate portrait of American elites from 1969-1996 on vacation and at play. Private villas, exclusive clubs, racetracks, yachts and hunting lodges provide a backdrop of luxury where Vogt, the ever-present insider, captures the raw beauty and uninhibited excesses of his social circle. Jay McInerney¿s (Bright Lights Big City) accompanying introduction provides an insightful interpretation as he eloquently describes his impression of Vogt¿s images and the scenes portrayed in These Americans. ¿These people are living in the world that their parents and their grandparents inhabited and created. They aren¿t rebelling against the previous generation.¿ ¿the ¿images give us a sense of spying on intimate moments, which imbues them with a certain tension and mystery¿.

Denäs daughter Margaret recently announced the new name and non-binary identity as Alex, and while she fully supports this, she¿s learning who the new person is, learning to love who Alex is becoming, and considering her own evolution as a mother. The project You Refuse to Believe that You Ever Liked Pink unfolded over a year during which Alex and Dena came to understand what their transitions looked like and meant. As a young adult with autism spectrum disorder and countless physical ailments, Alex struggles to exist in a world that seems to run counter to how Denäs child understands it. Along with the gender transition, Alex came into an awareness as an asexual (ace) adult, and this book reflects the search for all these identities. Even after a year of growth, Alex and Dena are still learning to navigate their relationship, define their roles, and how to claim their place in contemporary society. Unlike other work about this subject, this book not only investigates Alex¿s identity, but also how a mother transitions with her transgender child. Dena Eber mentored and supported similar young adults, but this time, she¿s the mother. This work is her experience, and at the request of Alex, it reveals her child¿s experience as well. Dena created this book for herself, for Alex, and for all those who love and care about someone who is transforming away from their birth gender. You Refuse to Believe that You Ever Liked Pink examines the relationship between Dena and Alex through changing circumstances, supported by the unconditional love that they hold for one another. As for Denäs voice, both pain and joy come through as she mourns the loss of who she thought Alex would be and falls in love with the person that Alex is becoming.

The FotoFest Biennial 2022 central exhibition, If I Had a Hammer, considers the ways artists utilize images to unpack the ideological underpinnings that inspire collective cultural movements around the globe. Together, the twenty-three included artists propose alternative techniques of seeing and engaging with the world, working with both conventional and new media to shed light on the systems that encourage social theories and political imaginaries to become dogma at the click of a shutter or tap of a button.The exhibition borrows its title from Pete Seegar and Lee Hays's 1949 protest song of the same name, which was written as a response to growing ideological divides and violence against progressive artists and thinkers in the U.S. during the era of Red Scare McCarthyism. Throughout this period, artists, activists, authors, and musicians, including Seegar and Hays, were made to testify in broadcasted congressional hearings and defend their right to free speech and protest. This exhibition uses the historical context within which "If I Had a Hammer" was written as a starting point to explore how those who assert ideological supremacy often do so by employing the very tools used by the communities and individuals they hope to suppress. They use the tools of discursive circulation: broadcast media, text, song, art, and images.

Making a Scene! is the story of how visionary individuals created an international art world around photography. A classic Texas tale of seemingly quixotic ideas, audacious goals, oil booms and busts, generous philanthropists, southern sensibilities, grandiosity, and resolve, this book documents the social history of 'who did what and when' to create an international photography scene in such an unlikely place as Houston. Beginning with MFAH Director Bill Agee's early dream of a photography department, a vibrant and engaged photography scene grew. What was once unimaginable became imaginable and then continued to grow and flourish through the work of Anne Tucker at the Museum of Fine Arts, Houston, local photographers who created Houston Center for Photography, and Wendy Watriss and Fred Baldwin, with Petra Benteler, who started the first international photography festival in the U.S., FotoFest. The scene that Anne, Fred, Wendy, and others fostered in Houston is nothing short of remarkable. This is the story of how Houston became the place to be for photography.

Isolated in the confinements of her Los Angeles home during the covid lockdown, Rohina Hoffman takes a metaphorical journey of connecting her roots to food through the rituals of daily meals. In Embrace she combines two photographic projects. In Gratitude showcases the food she used to make dinners for her family. Generation 1.75 is a visual memoir of identity, belonging, and the complexities of acculturation. For Hoffman, photographing family members holding dinner ingredients turned into a tool of expressing new deep gratitude for the food. She often thought of all the effort and the hands that had touched the produce before it ended up with her family. The food also became the means of connecting with her family members and reconnecting with her Indian roots in a more profound way. As part of Generation 1.5/1.75 (a term coined by Professor Ruben Rumbaut in 1969 to distinguish those who immigrate as children from their parents who immigrate as adults), Hoffman has struggled with issues of identity and the feeling of "Otherness".  The photographs of food and family are seasoned with Hoffman's poetry. Her essay, 'Not All Peacocks are Blue', published in English and Hindi, provides a deeper look into the photographer's background and serves as a bridge between the two projects. Embrace is a visual examination of how life's simple pleasures expand the quality of human existence and how that expansion helps an individual to secure their identity.

Shortlisted for the Singapore International Photography Festival Jan Banning's latest book is a multi-layered case study of the US Criminal Justice system and mass incarceration. In it he delves into a three decades old murder case in Georgia. On April 14, 1992, 22-year-old Christina Boyer was arrested for the murder of her toddler daughter Amber and sentenced to life in prison. Banning questions her guilt.The book presents the results of his extensive research. Combining documentary as well as staged photos with texts, it unravels the role of the media, presents analyses by medical professionals, and gives Banning's own visual interpretation of elements of the story. Besides, Banning invited the 'subject' of the project, Christina Boyer, to be an active participant in it. Boyer allowed Banning to disclose pages from her diaries and also gives viewers an insight into her inner world by writing her associations with his photos from Georgia, thereby giving an impression of how such an incarceration influences one's perception of the visual world.Stylistically, the book contains references to film noir, 19th-century Romantic landscapes and 17th Century Vanitas still lifes. It poses deep questions about about objectivism versus subjectivism. In the end, the audience is challenged to judge for themselves. The entirety of the artistic visual interpretations and documentation collected presents a major political story in a unique way.

Shortlisted for the Singapore International Photography Festival Undo Motherhood explores the reasons why a significant number of women around the world today regret becoming mothers. It points a finger at the patriarchal institution of motherhood, which from a very young age pushes women to become mothers and then abandons them, very often at the cost of their lives. The women in this project love their children and are excellent mothers when judged according to society¿s standards, and yet they hate the oppressive mother role that has robbed them of their own existence and suffer through it in silence, feeling it to be the worst mistake they have made. This book is a wake-up call for society which is built upon violence and discrimination against women and uses the myth of happy motherhood to keep women under control in a subservient role. In this work Diana Karklin combines two narrative languages ¿ her photographs and texts of the protagonists ¿ to create a space for reflection. It is important to know that these women have either already told their children about their regrets or they are going to tell them in the future, so their participation in the project is in line with their decision. The project is based on the contrast between the typical sugar-coated images of motherhood in many (social) media compared to the real stories. The entire work is divided into seven chapters ¿ published in seven separate books in a slipcase ¿ where each chapter circles around the feeling that prevails in that mother¿s life: anger, fear, isolation, exhaustion, guilt, resignation and acceptance. The last chapter stresses the importance of accepting regret in order to be able to deal with it in a constructive way. "An honest, courageous, and radical book that without passing judgement gives a voice to women struggling with the experience of a social role that they do not want, experiencing guilt and the burden of moral expectations. A book that allows us to explore the other dimension of motherhood, a dimension that is always hidden in the shadow. It is necessary to look at motherhood as it is in all its aspects, in order to free it from prejudices, and to present vital options to both mothers and children who find themselves in this situation,¿¿Ana Casas Broda, photographer and author of ¿Kinderwunsch¿, that explores the complexity of motherhood and the relationship with her two sons."

Petra Barth grew up in a rural village. She, her parents and her sisters lived on a small piece of land where nature was untamed. She climbed trees, floated on tires in big puddles of rainwater, picked wild blueberries in a nearby forest, and wandered along the giant furrows of a massive potato field across the street. As evenings approached, she feared for the moment she had to go to bed. Recurring nightmares haunted her during the day and kept awake at night. ¿I kept hoping that if I didn¿t fall asleep, I could escape my dreams. Maybe that¿s why I am captivated by illusions¿. Her mother would hang the clothes for Petra and her sisters to wear the next morning on the closet door. She didn¿t know that they would throw ominous shadows that intensified by the light of the moon shining through the window scared Petra. ¿Maybe that¿s why I am fascinated by shadow and light¿. At the sunrise, inspired by tales from faraway countries that her parents told them at bedtime, Petra and her sisters would roam the land and look for adventure. ¿Maybe that¿s why I am drawn to the countryside, and to the unknown¿. Decades have passed and nightmares were replaced by curiosity. Through the lens of her camera, Petra Barth was able to explore the places away from home and keep moments alive which otherwise would be forgotten. The images in ANDERSWO reflect Peträs journey to unfamiliar places, both geographically and emotionally. By letting her own memories interweave with the stories she listened to others share, she created intangible threads and followed them back to the little girl in the potato field, captivated by the unpredictable.

Produced in conjunction with the FotoFest Biennial 2020 exhibition, the African Cosmologies book will feature essays by leading scholars in the fields of contemporary art, photography, and cultural studies. Images of installations, photography, film, and video works by artists will highlight the range of interdisciplinary approaches that are represented in the Biennial exhibition. African Cosmologies: Photography, Time, and the Other is co-edited by Autograph ABP Director, Mark Sealy MBE, and FotoFest Executive Director, Steven Evans.

In a very short space of time, Geert Broertjes lost the most important women in his life. His aunt, grandmother and mother passed away. He shared his grief with his girlfriend, who became a recurring theme in this series. But even this relationship ended, a couple of months after his mother passed. Broertjes photographed the process instinctively. It was only afterwards that he noticed the coherence of his work. It became a poetic story about love, loss and grief. The beautiful photographs, all shot analogue in raw black and white, reveal the dark feelings he experienced during this intense period in his life.

Changing Circumstances - Looking At The Future Of The Planet is an expansive presentation of international contemporary photography, video, and new media art addressing the challenges presented by global change. The book shows the works of over 30+ leading international artists, focusing on the ways in which photographic, video and digital art reflects on our relationship, as individuals and as a society, to the natural environment around us. An important aspect of this presentation is how individual artists are using their work to initiate and actively support change that seeks to correct the negative impact of human behaviour on the natural environment.

For two years British photographer Anna Fox documented holiday culture at the iconic Butlin's resort in the seaside town of Bognor Regis, West - Sussex.

The United Nations Office on Drugs and Crime has declared Nigeria among the top eight countries with the highest human trafficking rates in the world.

Contemporary Russian Photography is the subject of the FotoFest 2012 Biennial. The Biennial publication is an extensive representation of the evolution of creative photography in Russia from the Khrushchev period of the late 1950¿s through the wild experimentalism of Perestroika and its aftermath in the 1990s to the work of young Russian photographers today. The presentation of Russian photography shows the remarkable breadth of the photographic arts in Russia over the past 56 years. The essays provide a re-examination of the history of creative photography in Russia after Stalinism. The Russian art works are part of a two-volume publication with essays and images representing the renowned Biennial¿s major exhibitions. The publication contains over 300 color images, curatorial essays, artist and curator bios, with website information. The history of Russian creative photography since the late 1950s, its artists and art works are the subjects of essays by the leading Russian curators and independent art historians, Evgeny Berezner and Irina Tchmyreva, Ph.d. As Deputy Director General for photography and multi-media projects at the ROSIZO State Museum and Exhibition Center of the Russian Ministry of Culture, Mr. Berezner curated over 150 exhibitions of contemporary and classical Russian photography. Irina Tchmyreva is the senior researcher for photography at the Department of Russian Art of the 20th Century in the State Research Institute of Art History in The Russian Academy of Fine Arts. She has written widely on Russian photography.