Сборники работ

Beautiful monograph on photographer Ara Guler, aka 'The Eye of Istanbul'.

Being a testament to Turkey's rich history, A Play of Light and Shadow offers a contemporary view of Guler's work while also providing the opportunity to explore iconic and unknown parts of it.

With text contributions by art historian Kim Knoppers, curator and head of photography department at Istanbul Modern, Demet Yildiz Dincer, photographer and filmmaker Ahmet Polat, and Claartje van Dijk, curator and head of exhibitions at Foam in Amsterdam.

About the Photographer:

Born on 16th August 1928, Ara Guler is a Turkish photojournalist, also known as Istanbul's Eye. His father owned a pharmacy, but had many friends that belonged to the world of art. Ara came into contact with these people and they inspired him to opt for a career in films/cinema. He worked in film studios and joined courses of drama under Muhsin Ertugrul. Later, he leaned towards journalism and abandoned cinema. In 1950 he joined Yeni Istanbul, a Turkish newspaper, as a photojournalist. During the same time, he studied economics from University of Istanbul. Then he started working for Hurriyet.

In 1958 when Time-Life, an American publication opened its Turkey branch, Ara Guler became its initial correspondent. Soon enough he started to get commissioned by other international magazines, such as Stern, Paris Match, and Sunday Times, London. In 1961, he was hired by Hayat magazine as the chief photographer.

In this time, he met Marc Riboud and Henri Cartier-Bresson, who recruited him to join Magnum Photos. Ara was presented in 1961 British Photography Yearbook. In the same year, the American Society of Magazine Photographers made him the first Turkish photographer to become the member of this organization.

In 1960s, Ara's work was used in books by notable authors as a means of illustration and were shown at different exhibitions around the world. In 1968, his work was displayed at the Museum of Modern Art in New York in a show called, Ten Masters of Color Photography. Moreover, his photographs were also shown in Cologne's fair, Photokina in Germany. Two years later, Turkei, his photography album was published. His images related to art and its history were featured in magazines, like Horizon, Life, Time, and Newsweek.

The subject is Japanese photographer Araki, a man who talks about life through photographs. His powerful oeuvre, decades' worth of images, has been pared down to 540 pages of photographs which tell the story of Araki and comprise the ultimate retrospective collection of his work.

Known best for his intimate, snapshot-style images of women often tied up with ropes (kinbaku, Japanese rope-tying art) and of colorful, sensual flowers, Araki is an artist who reacts strongly to his emotions and uses photography to experience them more fully. Obsessed with women, Araki seeks to come closer to them through photography, using ropes like an embrace and the click of the shutter like a kiss. His work is at once shocking and mysteriously tender; a deeply personal artist, Araki is not afraid of his emotions nor of showing them to the world.

About the Author:

Nobuyoshi Araki was born in Tokyo in 1940. Given a camera by his father at the ripe age of twelve, Araki has been taking pictures ever since. He studied photography and film at Chiba University and went into commercial photography soon after graduating. In 1970 he created his famous Xeroxed Photo Albums, which he produced in limited editions and sent to friends, art critics, and people selected randomly from the telephone book. Over the years, his bold, unabashed photographs of his private life have been the object of a great deal of controversy and censorship (especially in his native Japan), a fact that has not fazed the artist nor diminished his influence. To date, Araki has published over 400 books of his work.

Red petals and rope binding. The ultimate Araki collection

Decades’ worth of images have been distilled down to 568 pages of photographs in this ultimate retrospective collection of Nobuyoshi Araki's work, selected by the artist himself.

First published as a limited edition and now available as a standard TASCHEN edition, the curation delves deep into Araki's best-known imagery: Tokyo street scenes; faces and foods; colorful, sensual flowers; female genitalia; and the Japanese art of kinbaku, or bondage. As girls lay bound but defiant and glistening petals assume suggestive shapes, Araki plays constantly with patterns of subjugation and emancipation, death and desire and with the slippage between serene image and shock.

Describing his bondage photographs as a'a collaboration between the subject and the photographer’, Araki seeks to come closer to his female subjects through photography, emphasizing the role of spoken conversation between himself and the model. In his native Japan, he has attained cult status for many women who feel liberated by his readiness to photograph the expression of their desire.

About the Author:

Nobuyoshi Araki was born in Tokyo in 1940. Given a camera by his father at the ripe age of twelve, Araki has been taking pictures ever since. He studied photography and film at Chiba University and went into commercial photography soon after graduating. In 1970 he created his famous Xeroxed Photo Albums, which he produced in limited editions and sent to friends, art critics, and people selected randomly from the telephone book. Over the years, his bold, unabashed photographs of his private life have been the object of a great deal of controversy and censorship (especially in his native Japan), a fact that has not fazed the artist nor diminished his influence. To date, Araki has published over 400 books of his work.

Welcome to the era of the no-panties coffee shop. Tokyo "entertainment centers" in the early 1980s photographed by Araki

It started in 1978 with an ordinary coffee shop near Kyoto whose waitresses famously wore no panties under their miniskirts and see-through pantyhose. As word began to spread, similar establishments popped up across the country. Men lined up outside these cafés waiting to pay three times the usual price for coffee served by a panty-free young woman, hoping to catch a fortuitous glimpse. Within a few years, a new craze took hold: the no-panties "massage" parlor. Competition for customers led these new types of businesses to offer an increasingly bizarre range of services: fondling clients through holes in coffins whilst they lie naked inside playing dead, interiors catering to commuter-train fetishists, young virgin role-playing, etc. Amongst these many destinations was a Tokyo club called Lucky Hole. Here, the premise was ridiculously simple: clients stood on one side of a plywood partition, a hostess on the other; in between, them was simply a hole big enough for a certain part of the male anatomy to pass through.

About the Author:

Nobuyoshi Araki was a frequent visitor to the sex clubs of Tokyo’s Shinjuku neighbourhood, and he photographed them profusely until the golden age of Japan’s sex industry came to a screeching halt in February 1985, with the enactment of the New Amusement Business Control and Improvement Act. In over 800 photos, Tokyo Lucky Hole documents the free-for-all spirit of those clubs via Araki’s lens.

About the series:

Bibliotheca Universalis — Compact cultural companions celebrating the eclectic TASCHEN universe at an unbeatable, democratic price!

Since we started our work as cultural archaeologists in 1980, TASCHEN has become synonymous with accessible, open-minded publishing. Bibliotheca Universalis brings together more than 100 of our all-time favourite titles in a neat new format so you can curate your own affordable library of art, anthropology, and aphrodisia.

Bookworm’s delight — never bore, always excite!

Colour and texture radically influence how we perceive shapes. While looking for an innovative approach on a 1995 Miami photo shoot, photographic master Guido Argentini was moved to coat a model in silver makeup.

The result was as beautiful as it was intriguing - the subtle grayish tones highlighted angles and surfaces in a way that was other-worldly. Inspired by the results, Argentini created a whole series of silver-hued models. In so doing, he uncovered a fresh perspective for nude photography.

Evoking the luminous polished planes of Brancusi and the verve of Degas' ballet sketches, these photographs endow the human body with both the solidity of sculpture and the vivid energy of dance.

Guido Argentini «Argentum»

Книга Guido Argentini «Argentum» – расскажет о том, как цвет и текстура могут радикально влиять на восприятие формы человеком. В поисках инновационного и нестандартного подхода к фотографии, во время фотосессии в Майами 1995 гада, Фотограф Гвидо Аргентини нанес на тело своей модели серебряную краску. Результат получился настолько красивым и интригующим, что Argentini создал целую серию фотографий моделей серебристого цвета. Тонкие серые тона делали все углы более четкими и графичными, а поверхность казалась какой-то иной. При этом фотограф открыл новый, необычный подход для обнаженный фотографии.

Guido Argentini «Argentum»– содержит в себе большое количество фотографий, напоминающих блестящие, отполированные скульптуры Бранкузи, и воодушевленные балетными зарисовками Дега, которые наделяют человеческое тело не только прочностью скульптуры, но и энергией танца.

Piet Mondrian behind his easel, Igor Stravinsky at his piano, Max Ernst sitting smoking on his throne-like chair: the photographs of Arnold Newman (1918-2006) are classics of portraiture. His subtle arrangements constituted the foundations of “environmental portraiture.” His photographs integrate the respective artist’s characteristic equipment and surroundings, thus indicating his or her field of activity. The enormous fame of Newman’s portraits can be ascribed to their daring compositions and sometimes astounding spatial structures. The photographer’s beginnings, however, were none too promising. During the Great Depression, Newman had to abandon his art studies for financial reasons. Between 1938 and 1942 he concentrated on socio-documentary photography in the ghettos of West Palm Beach, Philadelphia, and Baltimore. One might think that being forced to earn his living in a photography studio would have stifled his artistic potential: Newman portrayed up to 70 clients a day. Yet he still succeeded in developing a very personal touch and establishing himself in the New York art scene of the early 1940s. His subjects included Marcel Duchamp, Marc Chagall, Jackson Pollock, Willem de Kooning, and Alexander Calder among many others. With his unmistakable style, Newman became the star photographer of artists, writers, and musicians. This new edition, which includes recent work and an updated biography, provides a sweeping overview of Newman’s illustrious career.

Following his career-spanning monograph The Big Picture, Arthur Elgort pays homage to his first love and eternal muse in this new collection of photographs. While glimpsing ballet through Elgort’s lens we are taken not to the front of the stage but behind the scenes, where the hard work is done.

On this journey through the hallways and rehearsal spaces of some of the world’s most distinguished ballet schools, including the New York City Ballet and the Vaganova Academy of Russian Ballet, we see previously unpublished images of legends such as Balanchine, Baryshnikov and Lopatkina.

The perfection of the prima ballerina disappears in these quiet photographs where the viewer is able to witness the individual dancers’ natural glamour as they work to perfect their craft. Elgort’s snapshot style allows the pain and pleasure of one of the world’s most beloved forms of expressive dance to be seen with beauty.

The night shots by Axel Hütte, born 1951, present empty riverside promenades dotted with lanterns, illuminated office buildings, landscapes immersed in darkness with a single light at the horizon, and one sunset showing the last glow in the blackness of the night.

Die beruflichen Anfänge eines der wichtigsten Photographen des 20. Jahrhunderts waren bisher kaum erforscht. August Sander (1876-1964), der mit seinem epochalen Portraitwerk Menschen des 20. Jahrhunderts ästhetisch und konzeptuell Maßstäbe setzte, die bis heute gültig sind, begann seine Laufbahn als selbständiger Photograph im österreichischen Linz. Dort eröffnete er 1901 ein Atelier für Portrait- und Landschaftsaufnahmen, knüpfte gesellschaftliche Kontakte, die seinem Geschäft zugute und den eigenen künstlerischen und musikalischen Neigungen entgegenkamen und beteiligte sich - auch mit Gemälden - an Ausstellungen und Wettbewerben. In Sanders Linzer Zeit fallen die auf breiter Front geführten Diskussionen um eine Erneuerung des Mediums. Der »Piktoralismus« der Jahrhun- dertwende und die kommerzielle Studiophotographie gerieten mehr und mehr ins Kreuzfeuer der Kritik. Vor allem beim Portrait wurde der Ruf nach mehr Lebensnähe und Authentizität laut. August Sander fand sich hier in seiner eigenen Suche nach neuen gestalterischen Mitteln bestätigt - und anerkannt. Als die Familie 1909 nach Köln übersiedelte, waren die Grundlagen für die weitere Entwicklung seines photographischen Werks gelegt. Rund 330 Originale haben sich aus Sanders Linzer Jahren erhalten. Ergänzt durch weiteres Bildmaterial, das nur in Reproduktionen oder über Beschreibungen in Katalogen und Fachblättern greifbar ist, ergab sich ein »Linzer Bestand«, den die Photographische Sammung/SK Stiftung Kultur, Köln in Kooperation mit der Landesgalerie Linz einer eingehenden wissenschaftlichen Recherche unterzogen hat. Ergebnis dieser mehr- jährigen Forschungsarbeit ist die vorliegende Publikation, die eine Ausstellung in Linz und Köln begleitet.

No photographer had a more serious and deeply felt response to the political and cultural impact of the 1960s and early 1970s than Richard Avedon, whose iconic portraits of key figures of the era influenced the course of photography in the decades that followed.

In four monumental photographic murals (reproduced in large gatefolds) and many related portraits, he portrayed Andy Warhol’s gender-bending Factory, with Viva and Candy Darling; Abbie Hoffman and the radical agitators of the Chicago Seven; Allen Ginsberg’s family, friends, and fellow artists; and the U.S. Mission Council in Saigon alongside searing portraits of victims of the Vietnam War.

The photographs are accompanied by images of archival material, including Avedon’s diaries, correspondence, and contact prints. Major essays explore Avedon’s penetrating incursions into the history and spirit of these tumultuous years

Although her first magazine "Jill" remains an iconic reference even today, Babeth Djian has also initiated numerous other cult moments in the world of fashion, be it with "Vogue France", "Vogue Italie", "Glamour", "Mixte", and now "Numero". Some of the most renowned photographers, designers, make-up artists, hairstylists and models working in the fashion world today began their careers working with Babeth. She is always bubbling with enthusiasm: Jadore. Do it! She is a rare woman, daring, untamed, sophisticated, androgynous, a vamp so French! This book will include illustrations by major names such as: Mert Alas and Marcus Pigott; Inez van Lamsweerde and Vinoodh Matadin; Nathaniel Goldberg; Karl Lagerfeld; Peter Lindbergh; Jean-Baptiste Mondino; Guido Mocafico; Sofia Sanchez and Mauro Mongiello; Liz Collins; Solve Sundbo; Camilla Akrans; Greg Kadel; Dusan Rejlin; Ellen von Unwerth; Paolo Roversi; and, more.

Backstage & Frontrow is an all-access pass to the heady world of fashion and glamour, via the eyes of Gauthier Gallet. For almost ten years, Gallet scanned behind-the-scenes and the front-rows at the ready-to-wear and couture shows in Paris, Milan, New York and Tokyo, as well as some of the most star-laden parties of the past decade. Uncontrived, personal images, his photos render the untouchably fabulous surprisingly human. They are documents of our times, a compilation of encounters, a continuous expression of his great talent.

Gallet’s uncalculated images reveal the strength of his subjects and capture, in a split-second, the “now,” the moment. His unique working relationship with models, designers and celebrities, their mutual trust, is reflected in his lasting images. Backstage & Frontrow is at once a tribute to his work and a testimony to a great talent.

After four years of collaboration with choreographer Peter Martins and the New York City Ballet, Swiss portrait photographer Henry Leutwyler was granted unprecedented backstage access to the Company during the winter of 2012. The resulting book, Ballet, reflects 30 years of his passion for the art form, realized in 30 days of photographing.

Leutwyler inhabited the shadows of the stage and became "invisible," recording images of the dancers using nothing more than his 35mm Leica. He was able to explore the performers' immediate space, affording a more abstract portrait of their frenzied existence in an art form predicated on perfection. This clothbound masterpiece is a homage to the gritty world behind the curtain. With impresario Lincoln Kirstein, George Balanchine co-created the New York City Ballet in 1948. What followed is arguably one the most revolutionary periods in ballet history as he redefined the art form, introducing abstract works performed with a signature speed, musicality and precision. Under the leadership of Peter Martins, these are the hallmarks of the Company to this day.

About Henry Leutwyler

Henry Leutwyler was born in Switzerland in 1961. He lived and worked in Paris for a decade before finding his way to New York City in 1995, where he established his reputation as a portrait photographer. Steidl published Leutwyler’s first book Neverland Lost: A Portrait of Michael Jackson, in 2010. The images from Neverland Lost and Ballet have been exhibited in solo shows in Los Angeles, New York City, Paris, Moscow, Madrid and Zurich. 

Berlin is a concept album that represented a brave departure from the familiar sounds and themes of Lou Reed’s earlier solo work, a tragic tale about heartbreak and addiction meant to be played live as a rock opera, in the vein of The Who’s Tommy. But its poor reception meant that plans for a live performance were put on hold until 2007, when, with a renewed confidence in the material, Reed toured with a full orchestra and choir, giving some of the most personal and powerful performances of his career.

The tour was filmed by legendary artist Julian Schnabel, a longtime friend of Reed’s who also designed the spare and beautiful set, and whose daughter Lola contributed moving images projected behind the stage. This immeasurably powerful book draws on stills from Schnabel’s film, photographs of the set design, printed lyrics of Reed’s original verse, and images from Schnabel’s projections to tell the twin stories of Berlin as rock opera and as unique collaboration between two geniuses of contemporary art, music, words, and film.

The book also includes a rare conversation between Reed and Schnabel.

About the Author

Lou Reed is a founding member of the Velvet Underground and an accomplished solo artist, poet, writer, and photographer. He lives in New York. Julian Schnabel is a celebrated artist and filmmaker whose work is in the permanent collections of The Metropolitan Museum and MoMA in New York, and whose film The Diving Bell and the Butterfly was nominated for four Academy Awards. He lives in New York.

This publication is the English language edition of Helmut Newtons most successful book. It is an anthology of his best portraits, his most famous fashion photographs and his most provocative nudes.

About the photographer: 

Helmut Newton (1920-2004) was one of the most influential fashion photographers of all time. Born in Berlin, he arrived in Australia in 1940 and married June Brunell (a.k.a. Alice Springs) eight years later. He achieved international fame in the 1970`s while working principally for French Vogue, and over the next three decades, his celebrity and influence continued to grow. Eschewing studios, for the most part, Newton preferred to shoot in the streets or in interiors. His mixture of controversial scenarios, bold lighting, and striking compositions came to form his signature look. In 1990 he was awarded the "Grand Prix National" for photography; in 1992 was awarded by the German government "Das Grosse Verdienstkreuz" for his services to German culture and was appointed "Officer des Arts, Lettres et Sciences" by S.A.S. Princess Caroline of Monaco. In 1996, he was appointed "Commandeur de l`Ordre des Arts et des Lettres" by Philippe Douste-Blazy, the French Minister of Culture. Working and living in close companionship with his wife until his death at 83, through his last click of the shutter he continued to be as distinctive and influential as ever.