Bøger udgivet af Steidl GmbH & Co.OHG

Zu Beginn der Fotogeschichte war der Himmel grau und das Diktum der künstlerischen Fotografie und des Fotojournalismus lange Zeit schwarzweiß. Obwohl bereits 1935 der erste breit einsetzbare Diapositivfilm auf den Markt kam, blieb die Farbfotografie der Werbewelt vorbehalten und galt als kommerziell, vulgär und nicht-künstlerisch. Ungeachtet dessen entdeckten ab den 1960er Jahren immer mehr Fotograf:innen mit der New Color Photography andere und neue Gestaltungsmöglichkeiten. Das über fünf Jahrzehnte umfassende Werk von William Eggleston hat wesentlich zu diesem Paradigmenwechsel beigetragen. Neben Stephen Shore, Saul Leiter und Evelyn Hofer erkannte Eggleston früh die unverwechselbare Kraft der Farbe und ihre einzigartige Qualität zur Abbildung des Alltäglichen. Zumal Eggleston keineswegs vorgab, im Beiläufigen das Schöne bloßzulegen. Stattdessen überzog er das Banale mit einem Moment des Unheimlichen und Rätselhaften: Gerade weil Farbe der menschlichen Wahrnehmung so nahekommt, musste Eggleston die eigene Umgebung mittels der Fotografie immer wieder überprüfen - als seien ihm selbst die gefrorenen Lebensmittel im Eisfach nicht geheuer, nicht die Ketchup-Flaschen auf der Theke, und schon gar nicht die Waffen, die wie zufällig in so vielen seiner Bilder auftauchen.

Ward 81, photographed in 1976, was Mary Ellen Mark's first independent long-term project. Mark and writer Karen Folger Jacobs set out to document the lives of the women in this locked ward at the Oregon State Hospital in Salem-the only one in the state. Every day for five weeks, Mark photographed and Jacobs interviewed the women on Ward 81. At night they slept in an empty adjacent ward.Ward 81: Voices, an expanded edition of the original 1979 book, includes previously unpublished photographs, excerpts from interviews with patients and recorded conversations between Mark and Jacobs, as well as new essays examining the influence of their project. Ward 81 has always been considered one of the best examples of Mark's ability to portray subjects living on the edges of society with compassion. The inclusion of the women's voices gives invaluable insight, not only into the lives of the patients, but also into Mark and Jacobs' experiences and the challenges they faced during their collaboration.

Born of a desire to follow the seasons up and down America, and equally to find lyricism in contemporary American life despite all its dark histories, American Prospects has enjoyed a life of acclaim. Its pages are filled with unexpected excitement, despair, tenderness and hope. Its fears are expressed in beauty, its sadnesses in irony. Oddly enough, the society it seems to presage has now come to be; oddly enough, the ideas of this book bespeak our present moment.Often out of print, this new edition of Joel Sternfeld's seminal book returns to the format of the original 1987 edition. All of the now classic images within it-alongside a group of never published photographs-examine a once pristine land stewarded by indigenous peoples who needed no lessons in stewardship, and a land now occupied by a mix of peoples hoping for salvation within the fraught paths of late capitalism. The result suggests a vast nation whose prospects have much to do with global prospects, a "teenager of the world" unaware of its strengths, filled with idealism and frequent failings. These pictures see all but judge not.

American Gothic, Gordon Parks' 1942 portrait of government worker Ella Watson, is among the most celebrated photographs of the twentieth century. Created as part of an extensive collaboration between the photographer and his subject, it is at once a record of one woman's position within the racial, professional and economic hierarchies that stratified the nation's capital and Parks' visual reckoning with the realities of living in racially segregated Washington, D.C. Through his work with Watson-a custodian in the government building where he worked-Parks composed an intimate portrait of Black life by focusing on everyday activities, from work routines to family meals and church services. The resulting photographs trace a remarkably intimate portrait of Watson as a multidimensional figure, cherished by her community and vitally important within the civic sphere. American Gothic. Gordon Parks and Ella Watson provides a comprehensive overview of this pivotal series of photographs, including more than 50 images, some never published before, and additional archival material.Co-published with The Gordon Parks Foundation and the Minneapolis Institute of Art

Originally published in 1971, Gordon Parks' Born Black was the first book to unite his writing and his photography. It was also the first to provide a focused survey of Parks' documentation of a crucial time for the civil rights and Black Power movements. Today, more than 50 years later, this expanded edition of Born Black illuminates Parks' vision for the book and offers deeper insight into the series within it. The original publication featured nine articles commissioned by Life magazine from 1963 to 1970-some never-before published-supplemented with later commentary by Parks and presented as his personal account of these important historical moments. Born Black includes the original text and images, as well as additional photographs from each series, spreads from the 1971 book, early correspondence, reproductions of related Life articles, and new scholarly essays. The nine series selected by Parks for Born Black-a rare glimpse inside San Quentin State Prison; extensive documentation of the Black Muslim movement and the Black Panthers; his commentaries on the deaths of civil rights leaders Malcolm X and Martin Luther King, Jr.; intimate portrait studies of Stokely Carmichael, Muhammad Ali and Eldridge Cleaver; and a narrative of the daily life of the impoverished Fontenelle family in Harlem-have come to define his legendary career as a photographer and activist. This reimagined, comprehensive edition of Born Black highlights the lasting legacy of these projects and their importance to our understanding of critical years in American history.Co-published with The Gordon Parks Foundation

By 1944, Gordon Parks had established himself as a photographer who freely navigated the fields of press and commercial photography, with an unparalleled humanist perspective. That year, Roy Stryker-the former Farm Security Administration official who was now heading the public relations department for The Standard Oil Company (New Jersey)-commissioned Parks to travel to Pittsburgh Pennsylvania to document the Penola, Inc. Grease Plant.Employing his signature style, Parks spent two years chronicling the plant's industry-critical to Pittsburgh's history and character-by photographing its workers and the range of their activities. The resulting photographs, dramatically staged and lit and striking in their composition, showed the range of activities by black and white workers, divided by roles, race and class. The images were used as marketing material and made available to local and national newspapers, as well corporate magazines and newsletters. However, they served as much more than documentation of industry-enduring as an exploration of labor and its social and economic ramifications in World War II America by one of the most influential artists of the twentieth century.Featuring more than 100 photographs, many previously unpublished, this is the first book to focus exclusively on Parks' photographs for The Standard Oil Company, illuminating an important chapter in his career prior to his landmark career as a staff photographer for Life magazine.

Since the 1960s Anders Petersen has traveled extensively and photographed life beyond the margins of polite society for his acclaimed City Diaries. Petersen's is an indiscriminate and intensely empathetic eye, one shaped by a fundamental connection with those he photographs-"To me, it's all about people ... what they do, what they believe, their dreams, hopes, visions and virtues." His subjects, a world including prostitutes, transvestites, alcoholics and nighttime lovers-intimacy and conflict, joy and melancholy, clarity and ambiguity in equal measure-reveal his passion to identify and engage with subcultures and "life in the shadows," not merely to document them. To discover the gritty in the beautiful and the beautiful in the gritty, in impressionist images of deep blacks and stark contrasts which compellingly avoid cliché. Presenting photos made between 1967 and 2019, City Diary #1-7 contains all books in the series to date: re-prints of the first three-which received the Paris Photo-Aperture Foundation PhotoBook of the Year Award in 2012-alongside four new volumes.

In January 1967, the jazz composer and pianist Carla Bley (1936-2023) received a poem in the mail from a writer-friend, Paul Haines. As she later said, it "fit mysteriously with a piece of music I was working on, Detective Writer Daughter. When I told [Paul] how amazing this was, we decided to write an opera together, an overstatement by two people who didn't have to watch their words." In 1971, the result of this collaboration-the more than two-hour "chronotransduction" (as Bley came to call it) Escalator Over the Hill-was released. Featuring over 50 musicians and 20 vocalists such as Don Cherry, Charlie Haden, Roswell Rudd, Gato Barbieri, John McLaughlin, Jack Bruce and Linda Ronstadt, Escalator was named Jazz Album of the Year by Melody Maker in 1972 and awarded the Grand Prix du Disque the year after that.Included with the LP was a catalogue of pictures of the musicians and recording sessions made by the photographers Tod Papageorge (who also sings on the album), Garry Winogrand and Paul McDonough. McDonough was also responsible for pasting the edited prints to paper boards and arranging the final layout of the catalogue. A selection of those photographs and boards, including design indications and notes, is highlighted in And It's Again: Carla Bley's Escalator Over the Hill, along with the composer's extraordinary narrative-chronicle of the making and recording of the album, Accomplishing Escalator.Co-produced with ECM Records, Munich

This is a new edition of Mary Ellen Mark's 1993 book Indian Circus, depicting the great daring and constant hard work of the circus performers, and, most importantly, the feeling of family the circus created. Mark had already photographed a circus in India on her first trip there in 1968-"I was immediately struck by the beauty and innocence of the show"-yet it was not until 1989-90 that she dedicated herself to documenting 18 circuses during two three-month trips. From cities to villages, from large circuses with hundreds of performers (both human and animal) to those with only a few, Mark's compassionate focus is the humanism of her subjects, shaped by ironies, the humorous and sad, the beautiful and ugly. Her images are tellingly not of performances but of the lives lived between the show: scenes in tents and the dusty aisles between them, of practice, rest, and inevitably more practice. Circuses in India were already a dying art at the time of Mark's photographs: reminiscent of the purity of days gone by and an innocence long lost in Western cultures, they were an attempt to head off the demands of the contemporary world. This Steidl edition, featuring the texts and images from the original with a revised design and sequence, gives new life to Mark's compelling vision.

This book presents over four decades of Ken Lum's multidisciplinary practice, which spans conceptual art to installation and delves into universal themes of identity and urban life. Lum's influential work, with its focus on cross-cultural dialogue and the complexities of the modern world, resonates globally-be it painting, sculpture, photography, or public art projects that engage with individual and collective identity in the context of historical trauma and the complications of memory. Shaped by a keen sense of humanity and a wide knowledge of history and literature, Lum is a visionary who has consistently challenged societal norms, the ruling classes, religious suppression and racism, among other horrors which we continue to inflict upon each other. This publication presents a sweep of Lum's photographic series, at once descriptive and disruptive, personal and political, including "Portrait/Logos" (1984-86), "Portrait/Repeated Text Works" (1993 to present) and "Image Mirrors" (2021); as well as his work with Monument Lab, a public art project he co-founded with urban geographer Paul Farber which fosters critical conversation around the past, present and future of monuments.Co-published with Scotiabank Photography Award, Toronto

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.

Renowned for his depictions of self, which early in his career were often purely symbolic-most famously in the form of a bathrobe or a set of tools-Jim Dine reveals in Last Year's Forgotten Harvest another portrait of sorts, providing the viewer both with insight into his deep commitment to drawing and to the individuals in his orbit who have helped shape him. Presenting nearly seven decades of drawing, from 1957 to the present, Last Year's Forgotten Harvest demonstrates the deep fusion between Dine's practice and those who have long been part of his world. In the artist's words: "Besides being a diary, having the quality of a diary, the exhibition is essentially about drawing." Present here, then, are members of Dine's family. His wife photographer Diana Michener appears in multiple, heavily worked portraits. Images of close friends and fellow creatives move throughout the publication, including drawings of artist Susan Rothenberg, printer Aldo Crommelynck, poet Robert Creeley, and printer and publisher Gerhard Steidl, with whom he created this book. The blemishes, wrinkles and even stains that imprint themselves upon skin similarly appear upon the surfaces of Dine's drawings as he encounters and grapples with his subjects over time. Providing a poignant reflection upon a career characterized by digesting the world through making, Dine concludes: "This is what I'm left with. I'm left with drawing."Co-published with the Bowdoin College Museum of Art, BrunswickExhibition: Bowdoin College Museum of Art, Brunswick, 7 December 2023 to 2 June 2024

»Die Fabriken und Stahlwerke sind mein erweitertes Atelier.« Mit diesen Worten verweist der amerikanische Bildhauer Richard Serra auf die Prozesse, die zur Entstehung seiner oft großformatigen Skulpturen erforderlich sind. Ebenso wie seine häufig im öffentlichen Raum installierten Werke das Museum als alleinigen Ausstellungsort verlassen, verlagert sich die höchst aufwendige Produktion der Skulpturen vom Atelier in die Stahlwerke. An die Stelle einsamer künstlerische Handarbeit tritt ein komplexer, energieintensiver und arbeitsteiliger Prozess in der Schwerindustrie. Aus industrieller Zusammenarbeit gehen jeweils einzigartige Kunstwerke hervor, und nicht selten führt die Auseinandersetzung mit den industriellen Arbeitsweisen zu neuen Werken: work comes out of work.Der Fotograf Dirk Reinartz hat über viele Jahre hinweg im Auftrag von und in Zusammenarbeit mit Richard Serra die Entstehung und den Aufbau von dessen Skulpturen fotografisch begleitet. Dabei entstanden Bilder, die weit über eine reine Dokumentation hinausgehen und eine eigene Bildqualität entwickeln. Reinartz' subtil graduierte Schwarz- Weiß-Fotografie fängt die besondere Atmosphäre im Walzwerk, in der Schmiede und in der industriellen Weiterverarbeitung ein, ohne auf vordergründige Effekte zu zielen. Sowohl die Produktion der einzelnen Skulpturenelemente als auch die fertig installierten Werke hält Reinartz in eindrücklichen Aufnahmen fest, gleichermaßen zurückhaltend und souverän.Sprachen: Deutsch, Englisch

Beginning in 1972, Richard Serra has made over 320 print editions at the Los Angeles artists' workshop and fine-art publisher Gemini G.E.L.-more than any other artist. Gemini co-founder Sidney B. Felsen has had the good fortune and privilege of witnessing the birth of each and every of these editions, camera in hand. Early on, Felsen realized there was an intrusive element to photographing someone engaged in the private, meditative moments of making art, and his ally became the close friendships with artists he developed throughout the decades, along with his subtle manner: "Taking photographs," says Serra, "is Sidney's way of watching over not watching us." Although sculpture is the most public aspect of Serra's practice, drawing and printmaking play crucial roles, both as independent pieces and in working towards sculpture. Richard Serra at Gemini presents a selection from nearly 3,000 photos by Felsen, revealing ways in which Serra has remade the conventions of printmaking, and celebrating 50 years of ongoing friendship and collaboration.

This book combines the traditional Slavic tale "We Three Brothers" by Karel Jaromír Erben with illustrative photographs and drawings by Jan Jedlicka. The story is just one of dozens collected and retold by Czech folklorist and poet Erben (1811-70) and is a cautionary tale of three young brothers, sons of a peasant who leave home to find their way in the world, only to meet a mysterious man with a limp who seals their unfortunate fates. Jedlicka visualizes the story in muted black-and-white images of a landscape of empty hills and rocky outcrops through which we imagine the brothers traveling. These he complements with more whimsical drawings of the characters of the tale: the brothers and their father, the limping man, a peddler and magistrate. The result is an unconventional modernization of a little-known tale, whose charm and moral still have an uncanny resonance today.Sprachen: Deutsch, Englisch, Tschechisch

This book is an intricate facsimile of a diary/sketchbook June Leaf filled during travels throughout Japan in 1970. Through sprawling drawings in pencil and ink, paintings, collages, and handwritten and typed thoughts, Leaf spontaneously captured her impressions on a journey both joyous and difficult, of pleasure and what she calls "that torture that occurs sometimes during travel." From real scenes like the view through the plane window approaching Japan, streetscapes, landscapes and a portrait of a passenger and conductor in a Hiroshima streetcar, to imagined visions including what she calls "scenes of paradise or Garden of Eden," image and text mingle like the accumulation of experiences over time. Following the approach to the facsimile of Leaf's Record 1974/75. Mabou Coal Mines published by Steidl in 2010, the paper and binding cloth of Japan 1970 closely match the originals, to transport us as deeply as possible into Leaf's intensively creative and self-reflective mind.

This book celebrates Juergen Teller's long-term collaboration with creative director Dennis Freedman for W magazine and later for luxury department store Barneys in New York. Between 1999 and 2016 the pair created a sweep of iconic series, all captured in Teller's trademark realistic style. In his photographs for W, Teller consistently went against the grain, resisting large-budget shoots and seeking out authentic, anti-commercial narratives and pared-down locations-as in his unforgettable first editorial in 1999 which features Stephanie Seymour, Shalom Harlow and Naomi Campbell (among other supermodels) as office workers at the magazine. Seen as a whole, Teller's W commissions reveal the evolution of his creative freedom, from shooting Haute Couture clients, Kate Moss at the Monaco Grand Prix and Tilda Swinton as a socialite collector, to portraits of William Eggleston and Roni Horn.Teller and Freedman's work for Barneys catalogues between 2011 and 2016 epitomizes their risk-taking approach in unusual fashion locations such as Belgrade, Panama City and Tirana. The resulting images show playful juxtapositions and unexpected scenarios, as models and actors explore their environments in comic poses, producing a kind of non-conformist advertising. Throughout Fashion Photography for America 1999-2016 Teller has photographed original W magazines and Barneys catalogues from his archives, a low-fi method that emphasizes the physical process of looking over his past work and allows us to share in the surprises of his retrospection.

The infamous Hill of Crosses is a pilgrimage and tourist site near siauliai, Lithuania, which originated after the November Uprising of 1830-31, an extensive yet unsuccessful attempt to overthrow Russian rule. Crosses is Juergen Teller's intimate response to this place of remembrance, which he visited with his Lithuanian wife Dovile Drizyte and her parents in autumn 2022. With his ever curious, surveying eye, Teller captures the intense spirituality of this sacred destination. Responding to over 100,000 crucifixes within just one acre, his images embody this tangled web of religious iconography, including a dense multitude of crosses, stone sculptures of Jesus Christ draped in rosary beads, and large wooden carvings. Teller singles out details of small effigies of Christ and other emblematic features, deftly framing them against the landscape in an act of candid self-reflection. The series takes on an even deeper personal significance in the context of the 2022 passing of fashion designer Vivienne Westwood, with whom Teller had collaborated since 2007, and his gallerist since 2013 Suzanne Tarasieve. He embeds portraits of these powerful yet vulnerable women into his collection of symbolic images, a compelling tribute to two personalities who continue to inspire his work.

The Light Across is Chris Klatell's personal reflection on the act of looking at lighthouses at night, as they send their beams across the water. Simultaneously a work of history, a philosophical inquiry and a travelogue, the book questions how we think about similarity and difference in an era of rapid and destabilizing change. Structured as a rotation, like the spinning lens of a lighthouse, the work follows Klatell and the photographer Donovan Wylie as they circumnavigate Ireland and Britain, scrambling over rocks to capture flashes from the opposing shore. The camera and the lighthouse lens, born out of similar developments in nineteenth-century optical theory, emerge as mirrors, structuring identity along the axes of time and distance. The text explores both the difficulty of making these images, and the difficulties the images cause, once made.Ranging from ancient Alexandria to Northern Ireland during the Troubles, from Virginia Woolf to Enid Blyton, and from J. M. W. Turner to Eadweard Muybridge, Klatell's lighthouses flicker between acts of engineering to guide ships and warn them of danger, to symbolic gestures. Unions and disunions, joinders and separations pile up; Brexit, Covid and Trump come and go; promises to children are made, broken and redeemed. History and literature offer a path, then yank it away. Through it all, the lighthouse flashes on, ambivalent and obsolete, revealing we may not always be the character in a novel we imagined ourselves to be.

This revised and expanded edition of Juergen Teller's bestselling Handbags features a careful selection of images from the original 2019 book, alongside his favorite photographs made since. As before, Teller's advertising campaigns for distinguished brands such as Coach, Dolce & Gabbana, Loewe, Saint Laurent and Vivienne Westwood are shown with images of handbags deftly styled for fashion editorials-all worn by celebrities and models or photographed as still-life objects. Teller acknowledges the visible shift towards celebrity endorsement in recent years, which has led to exciting new encounters with a multitude of actors, musicians, artists, writers and filmmakers.In his unmistakable subversive, raw style, Teller presents the ultimate fashion accessory as an everyday item rather than as a glamorized commodity, often in surprising contexts (a handbag perched atop supermarket vegetables) or with humorous intent (a bag sitting on a taxidermy crocodile). This time around, More Handbags has the compact size of a handbag itself, making it more accessible and tactile-and aptly more affordable for all of us who might not be able to buy the real thing.

Eat More Plants. A Chef's Journal is a collection of Daniel Humm's drawings and handwritten thoughts charting the re-imagination of his acclaimed three-Michelin-Star restaurant Eleven Madison Park as wholly plant-based in 2021. Shaped by the seasonality underlying Humm's cooking, the book is structured into a section each for spring, summer, fall and winter. His drawings are spontaneous and painterly, celebrating the bounty of predominantly local fruits and vegetables that inspires his creations-from familiar characters such as the carrot and cherry to the more exotic elderflower and matsutake mushroom. On the back of the drawings Humm has written notes on the ideas, beliefs and uncertainties behind his decision to re-invent (and risk) the 25-year story of Eleven Madison Park: "Our cooking should not conform to society, it should be a resolution / Most days we see endless possibility, some days fear clouds our vision / This isn't just an artistic experiment, it's our livelihood." The result is a revealing visual diary of a chef dedicated to pro-planet values as the basis of fine dining, and the liberating realization that following traditions had been his greatest limitation.

The Past is Never Dead is a trilogy of books by Mark Peterson examining the American political landscape over the past ten years as the country's experiment with democracy has evolved into a cold civil war. The first book "Political Theatre" documents the lead-up to the 2016 presidential election and traces the rise of Donald Trump as a leader of the new right. The second volume "White Noise" began as a means to understand the divisive mood of the country following the election and captures the white nationalism and autocracy which evolved during Trump's time in office. Peterson explores the rhetoric of the White House on immigration and Muslim bans, and how this echoes and intersects with nationalism, Western chauvinism, neo-Nazis, and all those calling for an ethnostate in America. Finally, in "The Fourth Wall," we see the voters leave their chairs in the audience and take to the stage, becoming their own political figures-subjects include "Stop the Steal" protesters and the 6 January 2021 attack on the United States Capitol. The Past is Never Dead tackles America's schisms head-on, portraying a country on edge. With his trademark flash and high-contrast approach, Peterson's dramatic images are X-rays of America's complex political culture: "Democracy is a messy form of government," he declares, "and I try and capture it in all its chaos."

Wounded four times, and twice pronounced dead, Tim Page, the legendary photographer of the Vietnam War, was the original gonzo photojournalist. But while famed as the inspiration behind Dennis Hopper's character in Apocalypse Now, and the man who brought the sixties counterculture to Saigon, he was also deeply haunted by the war, especially the loss of his friend and fellow photojournalist Sean Flynn, the son of the actor Errol Flynn, who went missing in Cambodia in 1970.The Final Page contains the last interview that Tim Page gave before his death on 24 August 2022 at the age of 78. Speaking with American writer Jacques Menasche, Page, facing the end, shares an elegiac remembrance of bygone times, as well as the scars-both psychic and physical-which he carried. The book includes images from Vietnam by Page, portraits of the photographer by his friend and editor, Stephen Dupont, and a personal recollection by his colleague Martin Stuart-Fox. The result is a paean to an extraordinary man and an extraordinary life.

The latest collaboration with his wife Dovile Drizyte, The Myth is Juergen Teller's playful interpretation of the "legs up" fertility myth. Following the humorous 2021 series "We are building our future together" in which the Tellers dressed up as construction workers on building sites, this project reflects the next stage of their relationship as they start a family together. The enchanting location is the Grand Hotel Villa Serbelloni on Lake Como where the Tellers created images in each and every of the hotel's 97 unique rooms-in some we see the whole of Drizyte's naked body, while in others her cropped legs or feet appear unexpectedly: peeking behind duvets, curtains and furniture, tender juxtapositions in Teller's loving gaze.The theatricality and ambiguity of these performed scenarios recalls Teller's seminal 2004 series "Louis XV" shot with Charlotte Rampling at the Hôtel de Crillon, Paris. This conscious revisiting of a prior experience is firmly embedded in Teller's mythology, yet this time there is an air of serendipity. Run by the same family for four generations and shaped by tradition, the Grand Hotel Villa Serbelloni is filled with art alluding to motherhood and the family unit. Paintings and sculptures of pregnancy, babies, storks and cherubs became an unexpected good luck charm for the Tellers' future parenthood and lend their amorous beauty to these deeply personal images, embodiments of the trust and creative connection between Teller and Drizyte.

Over the past five decades Nancy Rubins has transformed everyday objects into dynamic, otherworldly assemblages in a multitude of scales, dimensions and mediums. Fluid Force presents a comprehensive survey of Rubins' gravity-defying practice and invites us to linger on her investigations of materiality-from early explorations of wood and clay to two-dimensional photo-collages, graphite sculptural drawings, and complex sculptures comprising found domestic objects (from televisions to toasters and hair dryers) and large salvaged objects such as boats, mattresses and airplane parts. Rubins' fascination with form and matter is unmistakable as she explores and challenges preconceived notions of what sculpture and drawing could and can be. With over 90 photographs and new texts by Phong H. Bui, Eric Shiner and Yayoi Shionoiri, Fluid Force is a much-needed publication that celebrates Rubins' extensive career and her brilliance in uniting the worlds of art and engineering-a reminder that what appears solid and static is in fact in a constant state of change.

The completion of William Kentridge's Domestic Scenes (2021) and Catalogue Raisonné Volume 1. Prints and Posters 1974-1990 (2022), both published by Steidl, was an opportunity to pause and take another more intimate look at a series of prints, singular and influential in Kentridge's oeuvre, titled "Carlton Centre Games Arcade" (1977). The Carlton Centre in Johannesburg, owned by the mining company Anglo American, was the most expensive and prestigious hotel and shopping complex on the African continent at the time, and was just a short walk from Kentridge's father's legal practice. It is then no surprise that this complex was where he decided to begin the process of observational drawing which would lead to Kentridge's first prolonged engagement with intaglio printing. Not only is this book an opportunity for all Kentridge enthusiasts to catch a glimpse of this never before exhibited and little-known early series of 14 etchings, but it also gives the reader a further taste of the ongoing catalogue raisonné project.

Back to You offers us an intimate and unprecedented opportunity to experience Chris Burden's artist's book practice. Comprising facsimiles of six rare publications, reissued for the first time since their original release, this new collection presents a comprehensive overview of Burden's radical early performance works and his interest in storytelling across media. "Chris Burden 71-73" (1974) and "Chris Burden 74-77" (1978), originally self-published, feature detailed descriptions by the artist alongside photographs and sketches of his 1970s performances in which he tested his mental and physical limitations, including Five Day Locker Piece in which Burden was shut in a locker for five consecutive days, and Shoot in which he was shot in the arm by a friend with a rifle. "B-Car"(1977) documents Burden's journey to conceive, build and operate a single-passenger car to travel 100 miles an hour per gallon. "Full Financial Disclosure" (1977) meticulously tracks his monthly business expenses for a year (the first artist to publicly do so). "The Master Builder" (2000) was originally editioned as a portfolio of gravure prints of Burden's drawings for his Erector Set bridge sculptures. "Coyote Series" (2005) was originally editioned as a portfolio of digital prints and etchings exploring the encounters he had with coyotes near his California home as well as reproductions of his handwritten stories. Seen together for the first time as an interrelated whole, Back to You shows Burden's radical and uncompromising spirit is alive and well, and introduces his work of fierce social consciousness to a new generation.

People is a facsimile re-print of a 1994 book on June Leaf's sculptures, many of them kinetic, needing just a light touch, the pull of a trigger or a single breath to come to life. Leaf has described her sculptures as drawings, their wiry forms carving and unfurling into space like exploratory lines on a page. Playing and fighting figures, animals and contraptions in the tinkering spirit of Jean Tinguely emerge from intuitive combinations of brass, copper and tin; found metal rods and blades; wood and paint. Regardless of her subject, Leaf's focus is on visceral whimsy, movement, and ceaseless renewal through material and process: "I think of myself as a dancer making art," she says, "or an aviator making art."

STEIDL-WERK No.31: GHOSTS IN THE MACHINE is Theseus Chan and Gerhard Steidl's latest adventure in redefining what constitutes a book. The normal starting-point for any book is blank sheets of paper, yet for STEIDL-WERK No.31 that is not the case. Instead, Chan and Steidl have taken already printed "make-ready" sheets from a recent Steidl book-the sheets produced on press while the printing plates build up the right levels of ink to deliver optimal results. Each make-ready sheet shows a different collection of inks and they are normally discarded; here they are the very heart of the book. On top of these sheets (fed into the press in a random order) is printed a new series of Chan's ink drawings-shifting, bleeding, abstract forms or "ghosts," which interact with the underlying images and texts in unpredictable ways. The result is an experiment with technical and optical accidents; each book in the edition, like Chan's drawings, is unique. Presented in a cardboard box with ten posters, ten postcards and a zine, as well as a copy of Steidl Magazine No.7 edited by Chan, STEIDL-WERK No.31 is a treasure trove of offset innovation.Limited edition of 500