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2024 feiert Birkenstock 250 Jahre Schumachertradition. Über die Jahrzehnte haben die berühmten Sandalen und das legendäre Korkfußbett in unzähligen Kulturen und Subkulturen Einzug gehalten: Sie stehen ikonisch für Stil, Individualismus und Selbstverwirklichung. Birkenstocks werden weltweit getragen und geliebt, gefertigt werden sie nach höchsten Qualitätsstandards in Europa. Dieses Buch zeigt zum ersten Mal und üppig bebildert die Geschichte des Unternehmens, seine historischen Wurzeln im traditionellen Schumacherhandwerk und seine über viele Jahre gewachsene Beziehung zur Gesundheitsbranche und zur Modeindustrie. Außerdem gestattet es einen Blick hinter die Kulissen: in die deutschen Produktionsstätten, wo das Birkenstock-Fußbett hergestellt wird.The Book of Birkenstock spiegelt den Anspruch der Marke auf außergewöhnliche Qualität und Sorgfalt wider: hochwertige Druck- und Veredelungsqualität, ein geprägter Einband, der ein Gefühl von Luxus vermittelt, verschiedene, sorgfältig ausgewählte Papiere. Mit Liebe zum Detail gestaltet, lädt jede Seite dazu ein, nicht nur in die Firmengeschichte einzutauchen, sondern sich auch an der handwerklichen Qualität des Buches zu erfreuen.

In den letzten zwei Jahrzehnten ist Drag im Mainstream angekommen, was nicht zuletzt daran liegt, dass Drag fotogen ist. Aber was macht ein gutes Porträt einer Drag-Queen aus? Es ist leicht, sich in all dem Glanz und Glamour zu verlieren, ohne das Wesen und die Vielfalt dieser Künstler:innen zu erfassen. Ein gutes Porträt, wie Martin Schoellers Drag Queens zeigt, fängt viel mehr ein als den bestimmten Look einer Person, sondern bietet einen Einblick in die Innenwelt, die Emotionen, die Motivationen und die Fantasie der Porträtierten. Drag ist viel mehr als theatralisches Cross-Dressing, es geht um eine lebendige Inszenierung, die eine Version des Selbst offenbart, die sonst vielleicht unbemerkt bliebe. In Schoellers Bildern wird Drag zu einer Form des dynamischen Porträts, das alle möglichen Ideen davon ausdrückt, wer wir uns vorstellen zu sein, und uns erlaubt, diese Geschichten zu leben und zu teilen - und sei es nur für eine Nacht.

This is the second publication in The Walther Collection Books series at Steidl, focusing on a dialogue between two of the most important South African photographers of the twentieth century-David Goldblatt (1930-2018) and Santu Mofokeng (1956-2020). There are both profound similarities and differences between the two artists' work. Goldblatt documented the ways in which architecture and spatial planning reflect the ideology of apartheid, and how the land continues to bear its legacy in post-apartheid South Africa. His investigations explore both actual structures and how mental constructs reveal how ideology has shaped our landscape. Mofokeng's photo essays shed light on everyday life in South Africa, beyond the stereotypical news pictures of Soweto depicting violence or poverty. Deeply personal, they record communities in townships and rural areas, religious rituals and landscapes imbued not only with historical significance but spiritual meaning, memory and trauma.The approach of Tamar Garb in Beyond the Binary is both daring and inquisitive-she "scrambles" and reassembles Mofokeng's and Goldblatt's photographs, blurring the boundaries between them and creates juxtapositions and insights that challenge prevailing views of these established images. By delineating 15 viewpoints around the themes of "Earthscapes," "Edifices," and "Sociality," Garb decontextualizes the work and creates a platform for comparing and rethinking the artists' practices.Co-published with The Walther Collection, Neu-Ulm and New York

Seit 2006 fördert die Schweizer Stiftung Hear the World vor allem in Ländern mit niedrigen und mittleren Einkommen Hilfsprojekte zugunsten von Kindern mit Hörverlust. So soll ihnen eine altersgerechte Entwicklung ermöglicht werden. Hear the World wird mittlerweile von über 120 prominenten Botschafter:innen unterstützt. Ihre Porträts sind in diesem Buch versammelt. Der Musiker und Fotograf Bryan Adams hat sie fotografiert und in Szene gesetzt: Prominente aus Film, Theater, Musik und Mode, unter ihnen Wim Wenders, Dionne Warwick, Lana Del Rey, Ben Kingsley, Tina Turner, Julianne Moore, John Cleese, Mick Jagger, Cindy Crawford. Bryan Adams arbeitet seit 2007 mit der Stiftung zusammen und unterstützt ihre Aufklärungskampagnen. Aus dem gemeinsamen Engagement für die Bedeutung des Hörens ist dieses Buch entstanden. Jeder der Porträtierten nimmt mit der Hand hinter dem Ohr die Hear the World-Pose für bewusstes Hören ein, und jede und jeder tut das auf ganz eigene, unverwechselbare Weise. Sie alle setzen sich für den Erhalt und die Wertschätzung unserer Fähigkeit zu hören ein, dafür dass Kinder überall auf der Welt Zugang zu ihrem Klang haben.Kopublikation mit der Hear the World Foundation, Steinhausen

This definitive three-volume publication is the most comprehensive assessment to date on the books, prints, and photographic editions of Ed Ruscha, who since the early 1960s has been one of contemporary art's most innovative practitioners in the graphic arts. A pioneer of conceptual photography and the contemporary artist's book, Ruscha has also produced more than 500 graphic works that set him apart as a prolific and experimental innovator in nearly every printmaking technique. This publication documents each of the artist's projects in these three essential areas of production. Catalogue raisonné entries compiled by curator and contemporary print scholar Siri Engberg feature detailed data and new photography, with full-color images of all prints and editioned photographic works, as well as a photographic inventory of each artist's book cover and interior pages. Scholarly essays by Engberg and artist book specialist Clive Phillpot provide context and analysis of Ruscha's achievements in the area of editions through the full arc of the artist's career. Additional resources include Ruscha's 1975 text "The Information Man," a selected bibliography and exhibition history, and photographic "visual archives" chronicling Ruscha's activities working with print workshops and other collaborators.

Tod Papageorge started photographing intensely in New York¿s Central Park in the late 1970s and continued working there until he moved from the city in the early 1990s. More than ten years later, he edited these pictures into a book which, in its marriage of the sensual and poetic, evokes the prelapsarian Eden suggested by its title.This re-issue of Passing Through Eden duplicates the first 2007 edition in its entirety, including Papageorge¿s thoughtful essay on the evolution of his photography and its basis in his early attempts to write poetry. His essay further describes how the first half of the book follows the opening chapters of the Book of Genesis, from the Creation through the (metaphorical) generations that follow Cain, suggesting how, even in the heart of a modern city, we might find echoes of elemental Biblical tales being acted out around us by those drawn into the park and its promise of beauty and peace. This section of Passing Through Eden then leads to a run of pictures confirming that the human comedy is equally alive and well in the park, even as its landscape¿delightful and wild¿retakes center stage to end the book.

Tod Papageorge produced the photographs for Dr. Blankman¿s New York in 1966¿67, on the heels of moving into the city. Photographer friends persuaded him that he could help pay the rent by landing some magazine assignments, and that a carousel tray of slides would be the best way of convincing art directors to take a chance on him. So, often after spending a day in the streets photographing in black-and-white, he would put a roll of Kodachrome film in his camera on his walk home and make color pictures, in many cases of shop windows, a subject he was convinced might help him earn a bit of commercial work.This re-issue of Dr. Blankman¿s New York, first published by Steidl in 2017, has enlarged the size of the plates and, with one exception, condensed the original design to a series of double spreads, intensifying the sense that what Papageorge was doing in these photographs was elaborating, on a parallel track, the portrayal of Manhattan presented in the black-and-white work of ¿Down to the City,¿ the first volume of his War and Peace in New York (also published by Steidl this season). For even their saturated colors and outwardly unremarkable subjects fail to dispel the impression that, rather than winning a magazine job, the shadow of the long war in Vietnam and the hysteria it sparked were the impulses actually charging the photographer¿s eye and deepest feelings.

LOG (March 22, 2019-May 17, 2020), produced daily over a period of fourteen months, is a collection of drawings, quotations, collages, photographs, casual commentaries, notes on news and weather events, and original texts by Roni Horn. Known for conceptually oriented work in diverse media, Horn continues her exploration of identity and difference in LOG. The collection, with its 406 drawings, ranges from the humorous and strange to the sublime and disturbed. Lodged in this context is the complexity of daily, lived experience. The dates LOG records encompass the mundane scroll of life, the global pandemic's early days, a political system in breakdown, local bird and animal life, and radical changes in weather. It also includes more formal texts and drawings, some becoming leitmotifs threaded throughout the work. LOG transforms personal experience into an emotionally profound and unusual visual engagement. First exhibited in New York City in early 2021, this is a beguiling and immersive body of work that invites repeated viewing.

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..."