This is the first U.S. release of this widely praised book. New Europe seeks to dig beneath the utopian dream of a united continent arising to face the dawn of the 21st century. Paul Graham's photographs reflect on the inescapable shadow of history that falls over each nation's conscience, from the dictatorships of Franco and Hitler, to the Holocaust and the Irish conflict. Thus burden is interwoven with a questioning of the banality of modern day consumption-led culture. Neither a narrative nor a conventional documentary, this body of photographs builds into a visual poem that resonates across the social and psychological landscape of Europe today.

Paul Graham: New Europe (German and English Edition)

Arts & Photography

Stahel, Urs

Individual Artists

Fotomuseum Winterthur / Cornerhouse Publications

Peter Hujar, a New Yorker of Ukrainian descent, died of AIDS in 1987. He recorded the world in astonishing portraits of cows, sheep, and geese in the country, dogs in the studio, the sea, the city, and above all his fellow human beings, many of whom have since won fame: Susan Sontag, John Waters, Divine, William S. Borroughs, Candy Darling, Robert Wilson, David Wojnarowicz, Paul Thek, and many men, in the nude, half-dressed, sleeping, posing, tumescent. People, animals, landscapes - Peter Hujar approached them all with great respect and a perfect sense of balance between near and far. His subjects face us with supremely dignified singularity, with loneliness at times, and at times in an aura of dauntless and "splendid isolation."

Peter Hujar: A Retrospective

Kozloff, Max

Visser, Hripsimé

Hujar, Peter

Amsterdam (Netherlands) Stedelijk Museum

Fotomuseum Winterthur

Photography & Video

Distributed Art Pub Inc

Nan Goldin shoots campaigns for Prada, David LaChapelle does Camel cigarette ads, and Jurgen Teller got his start photographing models in i-d, w, and The Face. The debate between aesthetic images and commercial pressure has perhaps never been so relevant and complex as it is today, with the increasing commercialization of the art world, the not insignificant exploratory aspects of fashion photography, and our constantly expanding realm of visual references. To study these tensions and overlaps, Chic Clicks invited some 40 photographers to present both their free work and their published editorials from fashion magazines and advertising campaigns. Photographers well-known for their commercial work offer personal and exploratory prints; those who gained prominence in the fine arts display work they were subsequently hired to do for fashion companies and magazines. Accompanying essays approach fashion photography from various perspectives, from that of cutting-edge fashion magazines to the field of contemporary art photography.

Chic Clicks: Creativity and Commerce in Contemporary Fashion Photography

Medvedow, Jill

Lehmann, Ulrich

Lipovetsky, Gilles

DiCorcia, Philip-Lorca

Day, Corinne

Williams, Valerie

Wurm, Edwin

PRINCE, Richard

Hatje Cantz Publishers

Gregory Crewdson's photographic series capture a particularly American state of normalcy--in dissolution. The viewer, at first seduced by what appears to be an idyllic scene, soon discovers subtle off-kilter elements more akin to Film Noir than an NBC comedy. In a work from his Twilight series, yellow school buses are parked outside white wooden houses, and students stand and lounge around in seeming passivity. Something is happening--what, we don't know. The vision is familiar yet unfamiliar, seemingly benign yet threatening. Crewdson goes to great lengths in dramatizing his disturbing suburban scenes, employing elaborate lighting, cranes, props and extras, espousing a level of behind-the-scenes preparation more akin to the making of a Hollywood movie than the making of a still image. Here perhaps is one place to locate the eerie unreality and narrativity of his pictures, the creepy attention to detail so out of place, in the ordinary settings he evokes. Middle-class reality meets the other side of the normal here--by way of Sigmund Freud.

Gregory Crewdson

Berg, Stephan

Hochleitner, Martin

Over the past dozen years, Toronto-based artist Scott McFarland (born 1975) has become one of the most prominent artists working with photography. His subtle manipulations of the photograph and use of tableau scale offer the viewer a new perspective on the photograph as a single moment in time. McFarland has expanded the subjects of his works in recent years from the large-scale tableaux gardens in Vancouver, for which he is perhaps best known, to winter scenes, cottage country outside the city and the urban street. Scott McFarland: Snow, Shacks, Streets, Shrubs documents the artist's more recent work, much of which is previously unseen.

Scott McFarland: Snow, Shacks, Streets, Shrubs

Welling, James

Scott, Kitty

McFarland, Scott

History & Criticism

Walther König, Köln

Photographer Zoe Leonard practices a type of cerebral roaming combined with carefully considered observation. For more than 20 years she has crisscrossed nature and culture, cityscapes and museums, always searching for signs that say something about structures, about natural and cultural conditions and the contradictions, parallels and connections between them. Leonard's photographs of anatomical wax figures, fashion shows, trees and fences present figures in sparse black-and-white images that open up visual fields of thought and reveal within them our visible world--the concrete and established structures that make up our reality. Leonard first created an international stir at the Documenta 9 exhibition in Kassel, Germany, in 1992, when she placed black-and-white photographs of female genitalia in the context of a male-dominated museum. Since then, the political aspects of her work have formed a backdrop for her constant struggle with shape, imagery and the union of symbols and content. This is the first book to showcase Leonard's complete oeuvre.

Zoe Leonard: Photographs

Lebovici, Élisabeth

Steidl/Fotomuseum Winterthur

Essential for ephemera aficionados, fans of Surrealism and proto-Surrealism and for anyone prone to spending more time in a museum's shop than in its galleries, The Stamp of Fantasy vindicates the postcard as a medium with a history as rich as the mediums it helped to foster, such as photomontage and mail art. In presenting the most fantastical postcard images from the early twentieth century, this book may be the opposite and complement to Martin Parr's famous Boring Postcards series, stuffed as it is with disembodied heads, hybrid humans, erotic imagery and drawn modification. If the great French filmmaker Georges Méliès had produced postcards (instead of films on a postcard scale), they might resemble these miniature works by diverse hands, selected from the esteemed collections of Peter Weiss and Gérard Lévy for the touring exhibition of the same name. The book tracks the overlap between so-called "fantasy" postcards and the avant-garde art of the 1920s and 1930s, principally Dadaism and Surrealism. Paul Eluard, André Breton and Salvador Dalí were enthusiastic collectors of fantasy postcards and Hannah Höch, Herbert Bayer, Man Ray and many others used them as material in their work. Marcel Duchamp's famed 1919 détournement of a "Mona Lisa" postcard, "L.H.O.O.Q," may be one of this book's guiding precedents, at least for drawing attention to the postcard per se--but plenty of anonymous artists contribute equally irreverent and inventive tweakings, as well as more hallucinatory amendments. The Stamp of Fantasy is a wonderful celebration of the small gesture, amateur inventiveness, folk Surrealism and art's most democratic form of reproduction.

The Stamp of Fantasy: The Visual Inventiveness of Photographic Postcards

Chéroux, Clément

Eskildsen, Ute

Collections, Catalogs & Exhibitions

Steidl & Partners

Following Darkside I's survey of photographed sexuality and lust, Darkside 2 explores the other end of the spectrum, or the flipside of the coin--the intimate affinity between death and photography. Images of impairment, disease, degeneration, violence, death, pain, grief and loss have been among photography's subjects from its inception; the photographic recording of death was, along with war reporting, one of photography's earliest duties. Of course, such graphic images have their compelling aspect, giving rise in turn to issues of exploitation, complicity and power relationships, on either side of the camera and in the photo itself. Darkside 2 navigates the fascinations and excesses of this intertwined relationship with a vast sampling of both old and new photography.

Darkside Volume 2: Photographic Power and Photographed Violence, Disease and Death

For roughly a decade, from 1992 to 2002, Joachim Brohm undertook a photographic project of long-term urban observation. At the same location on the outskirts of a German city, he took hundreds of pictures of redevelopment, recording the place as it was transformed from a 1950s commercial/industrial district into a gentrified post-industrial services center and living area. In a meditative response to these changes, Brohm cartographically captured the premises, their buildings and materials, and chronologically documented the developments during this period. Brohm's pictorial idiom--characterized by a dissolved center, with layering and composition referencing the continuation of space beyond the frame's limits--is both documentary and deconstructive. His photographs simultaneously depict and dissolve the outside world, lending the transitory, hovering state of reality and meaning a powerful pictorial form.

Joachim Brohm: Areal

Our perceptions of children are only too often distorted by our inclination to project grown-up fantasies of innocence and naivete onto them. Working with children, American photographer Wendy Ewald reveals the lucidity and precision of their powers of observation, gently but assuredly overturning cherished notions of childhood as a paradise lost. In Secret Games Ewald leads you into a world that is as eerie, haunting and threatening as it is joyous and mischievous-life as children really experience it. In 1969, when Wendy Ewald taught photography to children for the first time on a Native American reservation in Nova Scotia, she was stunned by how astute and beautiful their photographs of the environment they were growing up in were. Moving on to the Kentucky Appalachians, she continued working with children, combining her own photographs with the children's photographs and writings. For the past thirty years she has worked with children and women all over the world. Secret Games offers a comprehensive overview of Ewald's collaborative works, with in-depth texts by Ewald tracing the evolution of her work and the ideas guiding it.

Secret Games: Collaborative Works with Children 1969-1999

Ewald, Wendy

Weinberg, Adam D.

Scalo Verlag Ac

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