Bücher veröffentlicht von Steidl Publishers

Let's See is a photo-novel of Dayanita Singh's earliest years as a photographer, a return to a time when she did not yet consider herself a photographer, the probing remembrance of "an eye I no longer have access to." Singh has recently poured through 40 years of her archive-80% of which remains unseen-exploring scans of her contact sheets and being amazed by the gentle and tender images from the 1980s and '90s she had since forgotten-hostel roommates, friends with whom she lived, family, weddings, funerals; portraits of herself and those who would become important characters in her life: her mother Nony Singh, Zakir Hussain, Mona Ahmed whom she depicted in the emotive visual biography Myself Mona Ahmed (2001).Singh's first camera, a Pentax ME Super with a 50mm lens, was a gift from the German publisher Ernst Battenberg (1927-92), and with it she "made photos of everything I could, trying to make a roll of film last as long as possible," creating contact sheets of all her images, but realizing the rare luxury of an individual print only for a publication or a book project. "I call this book Let's See," says Singh, "because these images are about exactly that: how we see, what we don't see, what only the camera sees..."

Henry Leutwyler is certainly no stranger to the art of ballet-for many years he photographed on stage and behind the scenes at the New York City Ballet, culminating in his book Ballet, since published by Steidl in two editions. Yet Misty Copeland pushes Leutwyler's vision into a new direction: neither a strict portrait of the renowned ballerina nor a mere documentation of her exceptional craft, this is an intimate collaboration between photographer and subject that explores the subtleties of Copeland as a performer, person, persona and idol.Born in Kansas City, Missouri, and raised in San Pedro, California, Copeland's biography has all the arc of a fairy tale: she was living in a shabby hotel room, struggling with five siblings for a place to sleep on the floor, when she began ballet studies at the late age of 13. She soon proved a prodigy: within three months of her first class she was dancing en pointe, in just over a year she was performing professionally. In 2015 she became the first African-American woman appointed principal dancer at the prestigious American Ballet Theatre in the 75 years of its existence. In Copeland's own words: "The path to your success is not as fixed and inflexible as you think."

Is it a book, an exhibition, a catalogue of the exhibition? Is it mass produced? Is it unique? Dayanita Singh is a book artist who stretches the imagination of what a book can be, transcending the spaces between publishing and art. Book Building traces the journeys of Singh's books, from the first, Zakir Hussain (1986), to her latest, Zakir Hussain Maquette (2019), showing the spectrum of her book-building process, from idea to material object and how she inventively circulates them in the art world and beyond.Both a short history and a deep dive, this is Dayanita Singh's manifesto for the photobook. Taking those she has made with Steidl as a basis, we witness the transformation of books into book-objects which open up new interpretative spaces: Museum of Chance (2014), for example, first became a book-object, then a diptych, a book-case, a suitcase museum and a book museum, before finally becoming the ongoing museum in Singh's Museum Bhavan (2017). Book Building documents Singh's 13 books in images and short texts, along with several DIYs Singh has created with detailed instructions on how to display her books as exhibitions-making us the curators-as well as various performative interventions, from book carts and happenings, to installations and tours. At the heart of Book Building is the collaborative process that Dayanita Singh and Gerhard Steidl have established over 20 years; the belief that a book is always in a process of becoming.

In one of his last acts as mayor of New York City, Rudy Giuliani signed an order permitting the High Line, that beloved elevated railroad ruin which snaked down the west side of Manhattan, to be torn down. Everyone who had managed to climb up onto the High Line loved it: the wildflowers growing through disused tracks, the birds that followed the path north in spring, and south again in fall-that rural feeling magically flowing through the city like an unbidden river. Who didn't love the High Line? Those who owned the land beneath it and longed to erect high-rise buildings on the site, if only the High Line wasn't blocking their way. And so when Giuliani signed that order, the Friends of the High Line, the small community organization led by Robert Hammond and Joshua David, sprang into legal action, seeking an injunction.For over a year, Joel Sternfeld had already been photographing this hidden jewel in every season, so New Yorkers could visually climb up and see it too. In October 2001, while the rubble of the World Trade Center was still smoldering, Gerhard Steidl accepted Sternfeld's urgent request to make a book and flew to New York: together they designed Walking the High Line and just seven weeks later it was delivered, a vision for the wildly successful park that today hosts over two million visitors a year. Now in a new edition with nine additional photos, a larger format and an updated timeline, this is the book that made walking the High Line possible.

Please Please Return Polaroid is Miles Aldridge's ongoing love letter to Polaroid, a process once integral to the craft of many photographers but now more or less extinct, apart from the rare and out-of-date material traded on eBay for exorbitant prices. The sequel to Aldridge's Please Return Polaroid of 2016, this book presents new and vintage Polaroids from his more than 20-year archive in a seemingly random sequence shaped by a dreamlike logic and surprising juxtapositions.Please Please Return Polaroid explores Aldridge's dedication to analogue processes where cut-and-paste is still a manual process, made with scissors, gaffer tape, intuition and not a little patience. Aldridge continues to use Polaroids as part of his work-in-progress "sketches," often scratching, tearing and taping them together, even drawing over them; each mark part of the creative act. Known for creating immaculate photos of a less than perfect world, Aldridge revels in these unpolished images, transforming some into extreme enlargements filling double pages with their re-worked and damaged surfaces. Long live Polaroid!

This book presents the photo publications of Dr. Paul Wolff and Alfred Tritschler, revealing both their extensive artistic skills and business acumen. Wolff and Tritschler's versatile approach encompassed industrial reportages, genre pictures, news coverage, advertising campaigns and even films. In this volume, their more than 1,000 known published works and many magazine contributions are gathered and illustrated in color for the first time. Texts drawing on extensive primary sources explore Wolff and Tritschler's most important creations and reconstruct the history of their company. We see just how markedly the contexts for the production and consumption of photography changed between the Weimar Republic and Third Reich, and how Wolff and Tritschler exemplify the pivotal role which outstanding individuals played within this history. Their journalistic activities developed within the larger expansion of photographic illustration; their success was closely linked to the advancement of media reception and its use in political policies. Wolff and Tritschler's photo publications take on a further, political meaning-also in terms of National Socialist ideology-in the context of their concrete usage. This book's focus on their entire oeuvre, particularly the little seen early and late output, makes it the most comprehensive evaluation of Wolff and Tritschler's multifaceted work to date.

The work of German-American photographer Evelyn Hofer (1922-2009) is characterized by her single-minded creative drive and dedication to recording the essentials of her subjects. Hofer portraits her vis-à-vis-not only people, but also landscapes and interiors-well beyond the idea of the snapshot, and with great clarity and atmospheric intensity. Hofer spent months in the cities she photographed for her books of the 1950s and '60s, published with renowned authors such as Mary McCarthy and V. S. Pritchett. In titles such as New York Proclaimed (1965) and Dublin, A Portrait (1967) Hofer combines portraits, city and country views, still lifes and larger interior shots to manifest complex images of these metropolises. From this starting point Begegnungen / Encounters explores the multifaceted idea of the "portrait" throughout Hofer's oeuvre-be it in series on New York, Dublin and Washington, images of artists and their ateliers, selected photo-essays for magazines, her extensive projects "People of Soglio" and "Basque People", as well as till now unseen New York photos of Marlene Dietrich's hangar and Andy Warhol's Factory.

Close presents 120 portraits of the world's most famous and influential people across the arts and entertainment industries, politics, business and sport-from Julia Roberts and Adele, to Frank Gehry and Marina Abramovic, Barack Obama, Julian Assange and Roger Federer. Between 2005 and 2018 Schoeller photographed his subjects, in his words "to create a level platform, where a viewer's existing notions of celebrity, values, and honesty are challenged." Schoeller realized this goal by subjecting his sitters to equal technical treatment: each portrait is a close-up of a face with the same camera angle and lighting. The expressions are consistently neutral, serious yet relaxed, in an attempt to tease out his subjects' differences and capture moments "that felt intimate, unposed." Schoeller's inspiration for Close was the water tower series of Bernd and Hilla Becher, his ambition to adapt their systematic approach to portraiture. Amidst Schoeller's famous subjects are also some unknown and unfamiliar ones, a means to comprehensively make his project an "informal anthropological study of the faces of our time."

This publication brings together for the first time Anish Kapoor's architectural projects and ideas that span the last 40 years. These are concepts that continue to inform all areas of Kapoor's artistic output, many of which have been realized in works that confound the distinctions between art and architecture, pushing architecture into radical new territory.Kapoor's projects renegotiate the relationship not only between art and architecture but also between the very sense of space within ourselves and that of the external world. The forms he presents to us create spaces that blur the duality of subject and object, of interior and exterior. Monochrome fields of color, mirrored surfaces and fathomless voids all destabilize our place in the world. The more than 2,000 sketches, models, renderings and plans in this book show the journey of these forms to how they might exist in reality as well as the spaces they inhabit or create, both outside and within us.

In this compendium, Lee Friedlander examines the ordinary pickup truck, a quintessentially American mode of transportation. Unadorned in form as well as function, pickups have long been the vehicle of choice for farmers and tradespeople. Their well-worn beds-usually open to the elements, laid bare for all to see-have held and hauled all manner of things, from spare tires and jumbles of wires to animals and the occasional person. Friedlander, in his witty and encompassing, clear-eyed idiom, has observed this most utilitarian and unapologetically personal object in its native setting: the cacophonous bricolage that is American social landscape.

In the capstone volume of his epic series "The Human Clay," Lee Friedlander has created an ode to people who work. Drawn from his incomparable archive are photographs of individuals laboring on the street and on stage, as well as in the field, in factories and in fluorescent-lit offices. Performers, salespeople and athletes alike are observed both in action and at rest by Friedlander's uncanny eye. Opera singers are caught mid-aria, models primp backstage, mechanics tinker and telemarketers hustle. Spanning six decades, this humanizing compilation features over 250 photographs, many appearing here for the first time in print.