Bøger udgivet af Steidl GmbH & Co.OHG

This book is Henry Leutwyler's meticulous photographic record of the treasures of the International Red Cross and Red Crescent Museum in Geneva. In his trademark style, Leutwyler does not merely document objects but creates portraits of them, conjuring up their past lives and imbuing the inanimate with character. Here he sifted through the nearly 30,000 objects in the museum, shaping a selection that most movingly conveys the vital functions of the Red Cross: to provide humanitarian protection and emergency aid, to deliver medical and community support, particularly for the poor and underprivileged. Among a variety of others, Leutwyler shows us objects famously symbolic of the Red Cross (first-aid kits, uniforms, armbands), confronting finds (amputation saws, a cannonball), as well as the unexpectedly beautiful: delicate beaded flowers made by a prisoner of war. His focus is on the details of objects, their imperfections, decay and often the damage they have endured: evocative of the people who put them to real humanitarian use.

Celebrating one of the most dynamic forces in American children's literature, Dorothy Kunhardt's Collected Works is the first survey of the life and work of this beloved author. Best known for Pat the Bunny (1940), Kunhardt was a tireless innovator, publishing more than 40 books in three decades. Today, Pat the Bunny is still in print and has sold nearly ten million copies.Kunhardt dictated her first story to her father at the age of three, and went on to become an inventive author, illustrator and creator of children's books. Her first stab at writing and illustrating was the outlandish devil-may-care picture book Junket Is Nice, featuring a little boy who imagined he had more sense than the rest of the world combined. Published in 1933, Junket received rave reviews, gave Depression-era families the perfect excuse to share a good laugh, and was an immediate bestseller. Many books followed, all notable for their originality in concept, format and design-among them Pat the Bunny, The Telephone Book (1942) and Tiny Animal Stories (1948)-and bearing the mark of their author's unfettered imagination and seemingly boundless zest for living.Drawn entirely from the Kunhardt family collection, this publication brings Dorothy Kunhardt's work to life through photographs, letters, poetry, drawings, book mock-ups, unpublished manuscripts, as well as reproductions of first-edition books. Also shown are research materials and papers on Kunhardt's second consequential career, as an Abraham Lincoln scholar and steward of the Meserve Collection of Lincoln photographs and artifacts begun by her father.Co-published with the Meserve-Kunhardt Foundation

Wir bauen zusammen unsere Zukunft«, erklärten Juergen Teller und Dovile Drizyte auf ihrer Hochzeitseinladung, handgeschrieben mit einem Foto des stolzenPaares, das sich, bekleidet mit nichts weiter als Schutzhelmen und Jacken, auf einer Baustelle in Pose wirft. Dies setzte den feierlichen, respektlosen Ton für ihre Hochzeit in Neapel - ein Anlass, den sie zu einem mehrtägigen, unvergesslichen Erlebnis für ihre Gäste machten, in einer Stadt, die sie für ihre düstere Schönheit lieben und für die Herzlichkeit ihrer Bewohner.Auguri ist Tellers und Drizytes ungeniertes visuelles Tagebuch ihres Hochzeitsabenteuers, vom ersten Location- Scouting bis zur Willkommensparty mit Tanz auf der Dachterrasse und Blick über den Golf von Neapel und den Vesuv. Von der Zeremonie bis zum feierlichen Abendessen, bei dem jeder Gast ein unerwartetes Geschenk des Brautpaares erhielt - nämlich einen signierten Keramikteller, bedruckt mit einem Motiv aus der Serie »Wir bauen zusammen unsere Zukunft« - und dem unbestreitbaren Höhepunkt des Abends: einem herrlich anzüglichen Auftritt der subversiven Dragqueen Christeene und ihrer Band. Vom faulenzerischen Sonntag danach an einem Strand in der Nähe mit Gelati, Calamari und Tischtennis bis zu den Flitterwochen auf Sizilien. Auguri ist sowohl ein persönliches Dankeschön von Teller und Drizyte an ihre Gäste als auch eine augenzwinkerndeHommage an die Liebe in all ihren lebendigen, ungeschminkten und fabelhaften Formen.

Licht fällt durch ein löchriges Blatt, ein Netz feinster, verzweigter Adern wird sichtbar. Eine Zitrone gleicht einem porösen Stein. Eine Frucht hüllt sich in zarte Fäden. Blütenblätter wellen sich zu erotischen Gebilden. Glattes verwandelt sich in vielfach Gefaltetes. Vergänglichkeit zeigt sich malerisch in phantasievollen Farben und mit einem ungeahnten Formenreichtum.Auch Herlinde Koelbls neue Arbeit ist eine Art Feldforschung, aber dieses Mal sind keine Menschen zu sehen. In Metamorphosen geht es um Schönheit. Eine andere Schönheit, die man nur erkennt, wenn man aufmerksam ist und so genau hinsieht wie die Fotografin. Die entsteht, weil alles Lebende sich ständig wandelt, immerzu in einen neuen, faszinierenden Seinszustand eintritt, für den Herlinde Koelbl uns die Augen öffnet.

This book explores a uniquely Roman type of building, the palazzina-a four- or five-story residential structure of the most meticulous design, built during the Italian economic miracle between the 1950s and '70s. A Beautiful Game focuses on the extraordinarily imaginative entrances of these buildings.Over many years, Heiner Thofern photographed palazzine during his evening wanderings throughout the north and west districts of Rome. It was the intricately conceived and constructed entrances, realized mostly through collaborations between architects and artists, that particularly caught his eye. Beautiful Games reveals the varied treasures of Thofern's photographic archive, a rich collection that allows us to examine the particular sense of play and passion for beauty that shapes this era of Italian creativity, a delight in la bella figura, and a desire to constantly reinvent the possibilities of design and architecture.

Between 1973 and '76, Mitch Epstein photographed in American cities-New York, Los Angeles and New Orleans, among others. In 1973 he was initially shooting in black-and-white as a student of Garry Winogrand when he asked his teacher, "Why not color?" With Winogrand's blessing, Epstein shot his first rolls of Kodachrome. Silver + Chrome is a chronicle of his three years alternating between color and black-and-white, before eventually committing to color.This book contains Epstein's earliest work, virtually none of which has been seen before. In these kinetic tableaux, the artist's exuberance is tamed, just barely, by his formal intelligence. He depicts American city life as it undergoes taboo-shattering sexual liberation, economic crises and the repercussions of a boondoggle war in Vietnam, immersing us in the urban chaos of this complicated time.

Between the 1970s and '90s, Mitch Epstein photographed the rituals of excess and alienation, jubilance and desire that defined late twentieth-century America. These pictures marked the beginning of his photographic inquiry into the American psyche and landscape that has now lasted half a century. Recreation captures the vitality of modern America in a pre-smartphone, less self-conscious time. In these early works, Epstein's wit reigns, along with his singular way of making the mundane startle and the extraordinary appear to perfectly fit in.This new edition expands on the original Recreation book published by Steidl in 2005. More than a third of these photographs have never been published, and all of them have been re-worked with fidelity to the pictorial quality of the films of the era.

While working on his book The Circle in 2005, focusing on the capricious Maremma area in Southern Tuscany, Jan Jedlicka came across a short coastal strip of immense diversity at Principina a Mare near Grosseto. The constant atmospheric transformations of its landscape under the spell of the sky's play of light instantly caught his attention and inspired him to return frequently between 2008 and the summer of 2015. Jedlicka visited this tiny spot by the sea in all seasons and weather conditions, capturing images of vivid summer beach life, deserted parking lots and surreal wetlands bulging with abstract formations and vegetation between the water and the dunes. The black-and-white images were all taken in the range of only 200 meters, suggesting that we can discover a huge variety of spectacular natural phenomena in our most immediate environments.